TONE  THINKING 
EAR  JESTING 


CAROLYN  ALDEN  ALCHIN 


U 


TONE   THINKING 


AND 


EAR  TESTING 


A  work  that  directs   the   student  in  helping  himself 
to   develop   discriminative    hearing   from    the 
simplest    beginning    to    difficult    modu- 
lations and  chromatic  harmonies 


by 
CAROLYN  ALDEN  ALCHIN 

Author  of 
"APPLIED  HARMONY" 


PRICE  $2.00 

Published  by 
C.  A.  ALCHIN 

1227    SOUTH     HOOVER    STREET 
LOS  ANGELES       ::      CALIFORNIA 


Copyright,  1919, 
by  Carolyn  A.  Alchin. 


Music 


PREFACE. 

Music  is  the  union  of  tone  and  rhythm,  so  it  naturally  follows 
that  the  study  of  music  should  begin  with  the  training  of  the 
Ear  and  Feeling. 

Thinking  in  terms  of  sound  is  a  pre-requisite  for  sight-sing- 
ing and  all  truly  creative  work,  and  as  the  study  of  Harmony 
and  Counterpoint  should  be  the  study  of  tonal  and  rhythmic 
relations,  Tone-Thinking  and  Ear-Training  should  precede  or 
accompany  the  study  of  those  subjects. 

Every  advance  in  music  education  renders  more  clear  the 
advantage  and  the  necessity  of  understanding  the  NATURE  OF 
Music,  hence  the  need  and  demand  for  ear  training  of  a  high 
order,  work  which  includes  something  more  than  mere  pitch 
of  sounds. 

Another  advantage  of  value  is  the  habit  of  observation  that 
is  cultivated.  In  time,  one  finds  his  power  of  attention  always 
on  the  alert;  not  by  conscious  effort,  but  by  habit.  The  per- 
ceptive faculties  are  always  on  duty. 

As  rhythm  is  the  most  elementary  factor  of  music,  and  as 
there  is  no  music  without  rhythm,  the  first  command  should  be, 
feel  and  hear  rhythm,  and  the  second  and  third  are  like  unto  it. 

Rhythm  includes  the  grouping  of  tones  in  a  beat:  beats  in  a 
measure  or  bar:  the  grouping  of  measures  or  bars  into  sections 
and  phrases,  followed  by  the  longer  phrases  that  are  equivalent 
to  line  or  verse  in  poetry;  and  the  grouping  of  lines  or  verses 
into  stanzas.  The  increased  lengths  are  introduced  as  the  ability 
to  think  and  hear  increases.  Much  of  the  spirit  of  a  composition 
depends  upon  the  rhythm. 

The  expression  of  ideas  is  impossible  except  through  form. 
Thinking  and  hearing  in  phrases  is  as  necessary  for  appreciation, 
interpretation  and  composition,  as  form  is  to  a  picture,  or  the 
grouping  of  words  together  for  the  expression  of  ideas. 

Since  melody  is  intoned  rhythm,  it  merits  the  next  con- 
sideration. Absolute  pitch  is  unnecessary,  but  relative  pitch  is 

(iii) 


most  important  if  one  expects  to  feel  and  hear  the  quality  of 
toue  resulting  from  key-relationship. 

If  the  real  beauty  of  the  tone  world  is  not  a  sealed  book, 
one  should  hear  the  nature  of  the  material  of  music,  not  only  that 
arising  from  key-relationship,  but  the  harmonic  relations  and  the 
relation  of  both  to  rhythmic  accents.  As  every  ray  of  light 
includes  all  color,  so  every  tone  includes  the  harmonic  prism.  A 
study  of  overtones  as  illustrated  in  modern  music  will  illuminate 
this  fact. 

Much  is  being  said  and  written  about  self-expression.  How 
is  one  to  express  himself  if  he  has  no  feeling  for,  or  under- 
standing of  the  material  that  he  is  using?  We  cannot  express 
ourselves  in  a  language  that  we  do  not  understand,  so  why 
expect  to  do  it  in  music?  Do  the  color  blind  attempt  to  paint? 

It  is  really  pathetic  to  see  students  of  harmony  toil  over 
their  work  which  they  neither  hear  or  think,  trying  to  write 
acceptably  with  no  idea  of  tonal  or  rhythmic  relations,  trying  to 
create  with  what  to  them,  is  lifeless  material. 

Those  deficient  in  the  power  to  think  music  resort  to  ar- 
bitrary rules,  and  as  rules  apply  to  specific  cases  only,  they  are 
valueless  as  a  means  for  development  of  the  music  sense,  ex- 
cepting as  the  pupil  deduces  them  from  his  own  experience.  In 
the  examinations  of  so-called  advanced  students,  only  a  small 
proportion  show  any  signs  of  real  musicianship.  Why? 

There  are  teachers  of  technic  and  teachers  of  music.  The 
latter  should  so  direct  the  work  of  the  pupil  that  hearing  and 
feeling  are  unavoidable.  To  listen  well  and  profitably  in  the 
way  of  appreciation,  one's  knowledge  of  and  feeling  for  tonal 
and  rhythmic  relations  should  be  so  complete  that  it  is  a  part  of 
one's  self.  One  should  unconsciously  hear  as  the  discriminating 
artist  sees  shades  and  effects  of  color.  Training  should  be 
continued  until  the  beauty  of  a  great  work  can  be  appreciated 
without  being  marred  by  any  detail  or  factor. 

In  this  work  the  author  has  provided  self-help  with  every 
lesson.  First,  because  effort  means  life.  One  never  assimilates 
until  he  makes  independent  effort  and  application.  Second, 
because  no  teacher  has  the  time  for  all  that  should  be  done. 
For  the  average  student,  the  cultivation  of  discriminative  hearing 

(iv) 


is  a  matter  of  years,  requiring  persistent,  well-directed  effort. 
The  necessity  of  dictation  makes  the  teacher's  help  indispensable, 
but  a  pupil  should  be  required  to  study  and  prepare  lessons  as  in 
other  branches  of  music  education. 

The  material  has  been  introduced  progressively,  and  in  each 
case  related  to  all  of  the  preceding  material  in  various  ways,  the 
requirements  increasing  in  difficulty  as  the.  power  and  under- 
standing of  the  student  increases.  Harmonies  are  introduced 
before  the  melodies  upon  which  they  are  based,  because  it  is 
easier  and  better  pedagogy  to  first  perceive  synthetically,  then 
follow  with  the  analytical  hearing  of  the  parts.  Much  emphasis 
has  been  placed  on  the  various  relationships,  because  upon  that 
depends  the  power  to  anticipate  and  think  in  larger  units. 

Small  children  may  not  be  able  to  do  all  of  the  home  work, 
but  if  properly  presented  and  with  but  one  new  fact  in  a  lesson, 
they  will  do  everything  but  play  some  of  the  more  difficult 
examples.  Because  a  thing  never  has  been  done,  is  no  reason 
why  it  could  not  or  should  not  be  tried.  Successful  teachers 
continually  set  higher  standards  for  themselves. 

CAROLYN  ALDEN  ALCHIN. 
Los  Angeles,  California. 


CHAPTER  I. 


1.  Music  is  the  union  of  tone  and  rhythm. 

As  it  appeals  to  the  ear  and  feeling,  the  first  step  in  studying 
it  should  be  training  the  ear  to  discriminate  between  sounds  and 
rhythms. 

2.  Since  there  is  no  music  without  rhythm,  begin  by  first 
observing  the  regularity  of  beat  or  pulse,  then  the  regularity  of 
strong  and  weak  beats.     Some  students  feel   the   former  only. 
In  that  case,  they  should  listen  to  music  with  strongly  defined 
and  marked  rhythms  until  they  not  only  feel  the  beat,  but  the 
measure;  that  is,  strong,  weak,  strong,  weak  (two-pulse  measure); 
or  strong,   weak,   weak  (three-pulse  measure).     The  harmonies 
accentuate  the  rhythm,  so  it  is  easier  for  the  student  to  hear 
the  accents  than  in  a  single  part.     Use  only  two  or  three-pulse 
measure  in  the  beginning: 


Ex.  l.< 


/•  hi^z, 

P 

1    e 

_ 

1    " 

iC\v  i   1 

• 

-^ 

< 

9 

\>)    3E3 

• 

Jp 

• 

L   ., 

< 

9 

I    s 

J 

eJ 

-< 

t-  -9- 

-»-  -• 

-« 

_ 

-1 

h  -p- 

•    • 

T 

3- 

SX«     o  g 

>a 

i 

» 

i   W_ 

[ 

p    « 

^ 

L    L 

"r 

L    i 

L 

?* 

szfc  ..i 

•    1 

2 

P       !• 

•     I 

Ex.  2.< 


*^»1 


^ 


«. 


1  I  I   I      I    I 

i        i  i 


3.  When  the  student  can  distinguish  the  measure  of  simple 
compositions,  follow  with  dictation  from  one  tone: 

^J.J  ji^j  <j  uj  j  jujj  j  j  jy.  11 

JIJ  J^JI^JIJI!JI^JJIJ  JI^JJIJ  II 

JJUJJ  JJJ  JJJIJIIJJIJJIJJIJJJUII 


Direct  attention  to  and  exaggerate  the  feeling  of  progress 
from  the  weak  pulse  to  the  strong,  letting  the  voice  connect  "two- 
one,"  or  "three-one"  as  though  the  weak  and  following  strong 
were  inseparable. 

4.  Clap  the  hands  or  make  any  movement  that  will  help 
to  acquire  a  physical  sense  of  rhythmic  accents.     The  writer 
uses  the  following  movements,  suggested  by  the  Dalcroze  system: 
For  the  strong  pulse,  drop  the  hands  at  the  sides,  letting  the 
weight  fall  from  the  shoulder.     This  is  valuable  for  any  one 
who  needs  practice  in  relaxation,  and  especially  so  for  pianists. 

a.  For  the  weak    pulse,  raise   the   hands  above  the  head. 
As  one  should  feel  that  the  weak  pulse  progresses  to  the  strong, 
this  movement  is  very  significant. 

b.  For  a  three-pulse  measure,  the  arms  may  IDC  raised  to  a 
horizontal  position  on  the  second  pulse,  then  to  the  perpendicu- 
lar position,  a  position  always  used  for  the  weakest  pulse  of  a 
measure,  or  bar,  as  some  prefer  to  call  it. 

5.  When  one  can  hear  and  feel  the  measure  and  make  the 
arm  movements  with  precision,  the  following  may  be  used  for 
ear  tests,  the  student  naming  the  measure,  two  or  three-pulse: 


Ex.4. 


•  0  -0-0- 


U4J  JIJJ4 


-0-0- 


a.  These  should  be  expressed  by  physical  movements,  also 
written  on  the  blackboard  by  the  students.  As  they  should 
be  written  in  perfect  time,  there  should  be  no  attempt  to  make 
round  note-heads.  A  small  stroke  is  sufficient,  and  for  the  half 
notes  a  second  stroke  above  the  first  which  will  be  complete 
when  the  stems  are  added,  this  too  being  done  in  perfect  time. 

Hearing  these  without  a  change  of  pitch  directs  the  attention  to 
the  one  purpose  of  the  lesson,  the  rhythm. 

6.  When  the  student  writes  what  has  been  heard,  he  may 
be  told  that  the  bars  are  placed  to  locate  the  accented  notes. 
Be  sure  that  the  grouping  within  the  bars  is  felt,  also  their 
relation  to  the  following  accent.     Isolated  measures  should  never 
be  considered. 

7.  The  sense  of  rhythm  is  more  rapidly  developed  by  the 
use  of  the  divided  beat.     For  the  very  young,  or  those  lacking 
in  rhythmic  feeling,  the  divided  beat  may  be  illustrated  by  words 
of  two  or  more  syllables,  also  by  playing  or  singing  two  or  me/re 
notes  while  the  student  sings  one.     For  example: 


Ex.6. 


J  J 

r  cr 


j  j 
r  cr 


j  j 


rccrr 


j  j 


j 


J 
r 


j  j 

r  r 


r 


j  j  j 

r  r  r 


r 


8.  Employing  syllabic  accentuation  corresponding  to  the 
rhythmical,  care  should  be  taken  that  one  does  not  depend  upon 
that  indefinitely,  and  so  fail  to  develop  a  keen  sense  of  rhythm 
from  the  music  itself. 

a.  The  writer  has  a  strong  objection  to  the  use  of  the 
word  "and"  in  counting,  as  it  takes  too  much  time  and  stress. 
Tu'o  notes  in  one  pulse  should  be  heard  and  felt  as  a  unit,  or  a  two 
syllable  word,  not  two  distinct  words. 

TRY  THIS:  To  the  count,  add  a  light,  unaccented  syllable 
such  as  "ly";  counting,  one-ly,  two-ly,  etc.;  and  for  the  triplets, 
one-a-ly,  two-a-ly,  etc.  Whatever  is  used  should  be  something 
that  groups  itself  easily  and  rapidly. 


CHAPTER  II. 


OVERTONES,  TONE  RELATIONS,  KEY, 
BIRD  NOTES  AND  OTHER  DICTATION  EXERCISES. 

9.   In    rhythm   we    have    time    relation.      Nature  gives   us 
space  relation  in  the  overtones,  some  of  which  are  here  given  : 


Ex.6. 


3rd-    7th- 


9th. 


Root. 


.  As  seen  in  the  foregoing,  after  the  octave  occurs  the  fifth, 
which  is  followed  by  the  harmonic  root  or  generator  above.  After 
years  of  teaching  and  observation,  the  writer  is  convinced  that 
the  order  of  presenting  material  according  to  Nature's  Plan  is 
not  only  the  most  scientific  and  logical,  but  it  is  by  far  the 
easiest  way  and  brings  infinitely  better  results. 

10.  Sight-singing  and  tone-thinking  are  factors  of  ear  train- 
ing.    Sight-singing  associates  the  sound  with  the  symbol,  and  if 
one  can  think  the  sound  of  a  tone  or  interval,  he  is  quite  likely 
to  recognize  it  when  given  in  dictation. 

1 1 .  THE  FIRST  STEP  IN  TONE-THINKING  is  TO  ESTABLISH 
THE    MEASURE,    PREFERABLY    THREE- PULSE,    AS    THAT    is 

EASIER    THAN    TwO-PULSE. 

12.  Next,  play    and    count    two   measures    as   at   Ex.    7, 
exaggerating  the  accents,  then  sing  some  tone  higher  on  the 
next  accented  pulse.     No  pitch  should  be  taken  on  the  piano, 
but  the  student  should  sing  just  what  seems  to  "go  itself." 


Ex.7. 


Sing. 


a.  One  who  feels  the  rhythm  will  sing  either  the  fifth  or 
the  octave  above.  Should  it  be  the  octave,  sing  an  octave  both 
above  and  below  any  pitch  that  is  possible  for  the  voice,  and 
after  singing,  test  the  accuracy  by  playing  it.  For  example, 
play  the  notes  of  the  bass  staff  and  sing  those  on  the  treble: 


y^« 

x^ 

1 

f  ~\ 

I 

Stz 

J 

-J- 

-•- 

01 

fiiV 

S2s 

^5 

*^*^ 

£S 

1 

Ex.8. 


£.  One  is  more  likely  to  sing  the  fifth  than  the  octave, 
and  it  is  the  next  tone  desired,  because  it  is  the  next  one  of  the 
harmonic  series. 

c.  Under  no  circumstances  should  the  desired  tone  be  played 
first.  With  strongly  marked  accent,  play  the  first  two  measures 
of  .Ex.  9,  hold  with  the  pedal  and  sing  a  tone  higher.  If  one 
feels  the  rhythm,  he  rarely  fails  to  sing  a  fifth  higher,  as 
at  b.  Some  keys  are  easier  than  others,  but  eventually  one 
should  be  able  to  think  a  given  interval  from  any  given  tone. 

b 


Ex.9. 


The  tone  that  generates  zs  called  the  ROOT. 

13.  Play  the  pattern  at  Ex.  10,  excepting  the  last  tone, 
sing  the  fifth  and  another  tone  higher,  taking  it  on  the  accent 
as  in  the  example.  Because  it  is  the  next  tone  in  the  harmonic 
series,  the  root,  which  is  a  fourth  above  the  chord-fifth  is  the 
tone  one  naturally  sings. 


>r  '!Uf> 

f              x 

n\  tT4 

(  ^"  *    / 

Vs|y       :+ 

\              / 

a                   9 

>^A«<*        fj 

*-/  •**  j.  t  J 

—  j 

^r 

cSn  ,.i 

1 

1 

XT 

/            1 

E\ 

r(A  ) 

V-J 

9 

(m\' 

22 

S3 

Has 

w 

1 

Ex.  10. 


14.  Having  sung  the  tones  required  in  the  foregoing  ex- 
amples, find  them  on  the  keyboard  and  observe  the  distance 
between  each,  counting  both  the  first  and  last  tone  of  the  in- 
terval. The  name  of  the  interval  ?'s  determined  by  the  number  of 
staff  degrees  represented,  and  the  specific  type  by  the  kind  of  seconds 
or  steps  included. 


6 

15.  Seconds  are  said  to  be  large,  when,  as  they  appear  on 
the  keyboard,  there  is  a  tone  between  them.     For  example,  F| 
lies  between  F  and  G,  so  the  interval  from  F  to  G  is  a  large 
second,  and  from  either  to  F$  is  a  small  second. 

1 6.  The  octave  that  includes  two  small  seconds  as  in  the 
foregoing  examples  is  said  to  be  PURE.     The   term  PERFECT 
is  also  applied.     Fifths  and  fourths  including  one  small  second 
are  said  to  be  PURE  or  PERFECT.     For  eye  training,  write  the 
pattern   at  Ex.    n  in  several  keys,  singing  and  naming  while 
writing: 


Ex.11. 


If  2    ) 

EJS 

jjj 

•^                                                                                        9 

533* 

a. 

es. 

p 

[&•* 

\ 

SS5 

\ 

17.  Play  with  strongly  marked  accent,  the  first  three  meas- 
ures of  Ex.  12  and  sing  another  tone  on  the  following  accent. 
If  one  feels  the  rhythm,  the  tone  in  the  parenthesis  will  be 
taken.  If  one  fails  to  think  it,  play  again,  exaggerating  the 
accent: 


Ex.  12. 


1 8.  For  self -testing,  sing  a  tone  on  the  strong  beat  of  the 
measure,  and  while  holding  it,  play  the  same  on  the  third  beat. 
For  example: 


Ex.  13.< 


19.  A  KEY  is  a  group  of  tones  that  are  related  to  a  tone 
center  which  is  always  a  harmonic  point  of  rest.  In  key  rela- 
tion, this  tone  is  called  THE  TONIC,  the  syllable  name,  Do. 
Everything  else  in  key  is  named  and  numbered  according  to  its 
relation  to,  or  distance  from  the  TONIC. 

The  technical  name  for  the  fifth  above  the  Tonic  is  DOMI- 
NANT, the  syllable  name,  SOL. 


7L 

g) 

cs 

£        1 

Sgz 

«.                                                                    &            9 

Sing  play  sing  play  sing 

n*)I  1  '  — 

\^^s 

d 

^! 

Play 

2o.  Beginning  with  any  pitch  that  is  easy,  take  a  tone  as 
Tonic,  «nd  sing  the  Dominant  below,  returning  to  the  Tonic  on 
the  accent  as  in  Ex.  14: 

b 


One  can  use  scale  numbers  or  syllables,  according  to 
preference. 

21.  Beginning  with  the  weak  pulse,  take  a  given  tone  as 
Sol — the  scale-fifth — and  sing  the  Tonic  above,  as  at  Ex.  14,  b. 

EMPLOY  AT  LEAST  Two  ACCENTS,  NEVER  LESS.  MORE 
ARE  BETTER. 

An  inexperienced  student  should  be  shown  how  to  find  the 
intervals  on  the  keyboard  so  that  they  can  be  played  correctly 
from  the  first. 

22.  The  syllable  name  of  the  tone  located  a  third  above  the 
root  is  Mi,  and  as  both  of  the  steps  from  Tonic  are  large,  it  is 
said  to  be  a  large  third. 

Sing  and  write  Ex.  15  in  several  keys,  doing  it  in  perfect 
time: 


Ex.  15. 


P  m 


23.  Sing   Ex.   16    and    supply   two   tones   for   the  vacant 
measure,  one  higher  and  one  lower: 


i 

fi\\      i 

J      J 

*   m 

9 

^*±  — 

J  Solution: 


Ex.  16. 


As  the  fifth  is  the  next  overtone,  few  if  any  will  fail  to 
take  it. 

24.  In  classes,  let  the  students  sing  the  three  tones  in 
chord  relation,  beginning  with  one  and  adding  the  others  as  at 
Ex.  17: 

Ex.  17. 

4 


r= 


^ 


g 


-&- 

-^ 


8 

For  individual  work  or  self-help,  sing  the  tones  consecutively, 
taking  with  the  piano  afterwards  and  holding  until  one  hears  the 
voice  part  as  a  component  of  the  whole. 

25.  A  THREE-TONED  CHORD  is  CALLED  A  TRIAD.     Com- 
prised of  a  large  third  and  pure  fifth,  it  is  said  to  be  a  MAJOR 
TRIAD. 

Observing  the  structure  of  a  major  triad,  what  are  the  steps 
or  seconds  from  third  to  fifth?  With  one  small  second,  the  in- 
terval is  said  to  be  a  small  third* 

26.  With  the  different  positions  of  a  triad,  as  at  Ex.  17,  one 
sees  that  it  is  either  a  combination  of  thirds,  or  a  third  and  a 
fourth.     Since  two  of  the  three  positions  include  a  fourth,  by  all 
means  learn  to  think  and  hear  them,  beginning  with  the  different 
chord  degrees  and  not  always  the  root. 

A  fact  to  remember  is,  that  in  a  triad,  the  interval  of  a  fourth 
is  always  from  chord-fifth  up  to  root. 

27.  In  taking  the  intervals    from   dictation,  one  means  of 
identifying  or  distinguishing  the  fourth  from  the   fifth   is   the 
effort  to  place  a  chord  degree  within  the  two  notes  forming  the 
interval.     It  is  easy  to  sing  a  chord  degree  within  a  fifth,  much 
less  so  within  a  fourth,  especially  at  this  stage  of  the  work. 

28.  What   is   the  interval  from    fifth  up  to  third?     Sixths 
that  include  but  one  small  second  are  said  to  be  large. 

29.  What  is  the  interval  from  third  up  to  root?     A  sixth 
including  two  small  seconds  is  said  to  be  small. 

30.  With  either  piano  or  voices,  hold  two  tones  of  a  chord 
and  sing  the  third  one.     For  example,  a  third  should  be  added 
to  the  fifth  in  the  first  measure  of  Ex.  18,  and  both  above  and 
below  the  fourth  in  the  second  measure: 


Ex.  18. 


31.  Beginning  with  chord-third  and  finding  the  fifth  and 
root  above  is  much  more  difficult  than  beginning  with  other 
chord  degrees.  It  is  made  more  easy  by  establishing  rhythmic 
progress  like  the  following: 


*The  writer  uses  the  term  large  and  small  in  preference  to  major  and 
minor  because  they  convey  a  better  idea  of  distance  or  size,  just  as 
diminished  is  used  to  distinguish  something  smaller,  and  augmented  some- 
thing larger.  Theorists  who  use  these  terms  have  a  very  good  reason  for 
doing  so. 


Ex.  19. 


Do  this,  beginning  on  different  degrees  of  pitch. 
32.  Although  they  are  incomplete,  as  we  understand  mel- 
odies, the    following   bird    notes   are    well    worth    using.     If, 
incidentally,  one  is  led  to  a  larger  interest    in    birds,  the    little 
songs  will  serve  a  double  purpose. 

When  the  exercises  are  given  for  dictation,  the  student 
should 

First,  tell  the  rhythm. 

Second,  sing  with  a  neutral  syllable  to  show  that  the 

melody  has  been  correctly  retained. 
Third,  name  it  by  scale  numbers  or  Sol-fege  syllables. 
Fourth,  write  it  in  perfect  time. 

Having  made  the  note-heads  in  time,  put  on  the  stems  in  the 
same  way,  and  lastly,  the  bars,  just  as  the  accent  occurs.  Dots, 
flags,  etc. ,  may  be  added  afterwards.  Summarizing  the  order  of 
work:  FEEL,  SING,  NAME,  WRITE,  and  a  child  should 
play  them  if  he  is  doing  work  at  the  keyboard. 


Ex.  20. 

1 


BIRD  SONGS. 
2  3 


^=S=:^^:  =s=f       :=*=:^j=*=; 

F=f=-n  p    irrr^  ri    ~HLJ|  ^ 


g--r 


^^^ 


s=t 


10 


11 


12 


10 

The  next  number  includes  a  dotted-eighth  and  sixteenth,  the 
latter  almost  seeming  to  slip  in  between  the  beats.  If  one  cares 
to  apply  a  syllable  to  it,  use  the  vowel  a,  saying  "two-acne"; 
and  in  No.  17,  "one-a  two-ly",  etc. 


13 

8va. 


14 


15 


J"1  HI*    IIJx 
•  J  *  J  '  I   J-   '  • 


16 


17 

8va. 


18 


,.,    •H'sf— . 

,,,,       i    iEa"£* 


S 


^: 


19 


20 


22 


23 


24 


33 


CHAPTER  III. 

TONAL  RELATIONS  CONTINUED:  MINOR  MODE  OF  KEY. 

CADENCE.     SCALE-SECOND  IN  MELODIC 

AND  HARMONIC  RELATIONS. 

33.  As  a  result  of  relation  to  the  tone-center,  every  tone  in 
key  possesses  either  the  quality  of  progression  or  repose.  Sing- 
ing the  patterns  at  Ex.  21  and  noting  the  character  of  each  scale 
degree,  one  hears  and  feels  that  Do  and  Mi,  scale  i  and  3,  are 
tones  of  repose,  and  the  remaining  ones,  tones  of  action  pro- 
gressing to  the  repose  tones,  such  movement  being  called  the 
resolution. 


Ex.  21. 


IPS! 


t-0- 


Notice  that  Re,  scale-second,  moves  both  ways.  Which  is 
the  stronger  tone  of  repose,  Do  or  Mi? 

a.  Sol,  scale-fifth  has  a  synthetic  quality,  combining  with 
both  progression  and  repose  tones  in  harmonic  relation.  Melodic- 
ally,  it  is  a  tone  of  action  resolving  on  the  Tonic.  Occurring  at 
the  close  of  a  melody,  or  in  contrast  to  preceding  tones  of  action, 
Sol  has  the  quality  of  repose,  Ex.  21,  b. 

34.  Before  doing  detail  work  with  all  of  the  key  material, 
it  is  well  to  use  Sol,  the  Dominant,  as  a  distinct  progression  tone 
in  melody,  as  in  Ex.  24. 

The  law  of  contrast  compels  one  to  hear  a  change  of  quality 
in  successive  measures,  especially  between  the  last  two,  or  the 
last  two  pulses  of  a  melody. 

35.  A  change  of   melodic  quality   (progression   or   repose) 
means  a  change  of  harmony. 

EVERY  MELODY  SHOULD  HAVE  AT  LEAST  Two  MEASURE 
ACCENTS  AND  AT  LEAST  Two  DIFFERENT  HARMONIES. 

36.  SECTION  is  a  term  applied  to  the  rhythmic  group  next 
larger  than  a  bar  or  measure.*     A  section   may  be   two  bars 
or  three,  not  more.     At   Ex.  22  each  pattern  consists  of  two 


*As  there  is  no  universally  accepted  terminology  for  much  of  theoretical 
work,  the  writer  has  employed  that  which  seems  the  most  significant  and 
comprehensive. 

11 


12 

sections.  Number  i  of  Ex.  24  is  a  three-bar  section.  In  groups 
of  four  or  more  bars,  rhythmic  balance  or  proportion  is  maintained 
by  having  an  equal  number  of  accents  in  each  section. 

a.  In  learning  to  hear  in  sections,  the  ear  must  have 
distinguishing  points  or  places  to  rest,  so  it  is  well  to  change  the 
rhythm,  or  repeat  a  distinct  pattern,  as  at  Ex.  22: 


Ex.  22. 


b.  In    the    beginning,    the    harmonic    contrast    should    be 
associated  with  rhythmic  accents,  then  one  learns  to  anticipate 
the  changes  of  harmony  on  the  accented  beats  of  the  measure 
and  section. 

c.  In  a  three-measure  phrase,  the  contrast  must  necessarily 
fall   on   the  second  measure.     In    a  four-measure   melody,  the 
contrasting  quality  may  fall  on  the  second  or  third  measure,  but 
the  beginning  of  the  third  measure  which  is  also  the  section 
accent,  should  be  progression  quality,  in  contrast  to  the  close, 
which  would  naturally  be  the  tonic  quality.     See  Ex.   24  and 
others. 

37.  PHRASE  is  a  term  applied  to  a  group  of  two  or  more 
bars   or  measures  marked   by  a  pause  that  is  equivalent  to  a 
punctuation  mark  in  literature.     As  a  phrase  refers  to  the  con- 
tent, it  may  be  indicated  by  a  comma,  interrogation  point,  period, 
etc.     Like  sentences  in  language,  a  phrase  may  be  long  or  short, 
the  length  depending  upon  the  harmony,  while  the  section  is 
only  a  rhymthmic  grouping  of  twos  or  threes,  like  pulses  in  a 
measure.     Ex.  23  contains  two  sections,  but  one  phrase. 

38.  The  close  of  a  phrase  is  called  a  CADENCE.     When  the 
Tonic   falls  on  the  last  of  a  rhythmic  group,  the  close  is  in 
the  nature  of  a  period  or  completion  of  a  sentence. 

a.  When  a  progression  tone  falls  on  the  last  of  a  rhythmic 
group,  as  it  frequently  does  in  melodies  of  more  than  four  bars, 
the  close  is  in  the  nature  of  an  interrogation,  so  it  may  properly 
be  called  a  "Rising  Cadence." 

39.  In  Ex.  23,  the  repose  tones  falling  on  the  weak  pulses 
and  the  weak  measure  of  the  phrase  give  no  sense  of  pause,  so 
there  is  no  cadence  until  the  last  measure,  when  the  Tonic  and 
the  strong  rhythmic  accent  occur  together: 


Ex.  23. 


13 

Rhythmically,  the  weak  pulses  demand  the  strong:  Harmonically, 
the  progression  tones  seek  equilibrium.  When  the  two  occur  simul- 
taneously, there  is  a  cadence,  and  the  phrase  is  complete. 

a.  FORM  is  outlined  or  given  shape  by  the  cadences,  so 
hear  everything  as  leading  to  some  kind  of  cadence. 

The  teacher  will  observe  that  in  the  first  tone-thinking 
required,  and  the  first  dictation  work,  the  stronger  tones  fall  on 
the  accented  pulses. 

The  patterns  of  Ex.  24  are  so  written  that  the  progression 
tone,  Sol,  falls  on  both  progression  beats  and  measures. 

40.  Using  the  material  of  Ex.  24,  first  tap  the  measure  and 
time  values,  one  hand  marking  the  former,  and  the  other  hand 
the  latter.  For  example,  No.  2  should  be  tapped  as  indicated 
in  the  following: 


Right  hand:     j 
Left  hand:        f 


J 
r  r 


J     J 

r  r  r 


j 
r  r 


Reverse  the  operation,  letting  the  right  hand  tap  the  pulses 
and  the  left  the  time  values. 

a.  Sing   the   melodies,    and   if    the   Tonic    and    Dominant 
harmonies  can  be  played  with  them,  so  much  the  better,  as  that 
accentuates  the  harmonic  quality  of  each  measure.      The  melody 
should  not  be  played,  but  only  the  harmonies  on  which  they  are 
based.       Sight-singing    means    tone-thinking,    and   tone-thinking 
precedes  or  greatly  assists  discriminative  hearing. 

b.  The    better    one    feels    the    harmonic    regulation    of    a 
melody, the  more  sure  one  is  of  pitch.    With  the  simple  melodies 
taken   at  a   lively  tempo,  many  have  but   one   harmony  to   a 
measure.     Many  of  them  have   been  so  written,   because  that 
enables  a  student  to  think  the  measure  as  a  unit,  and  not  note 
by   note   which    is   fatal  to  sight-singing,  ear-training,  or   the 
harmonization  of  melodies  at  sight. 

41.  Taking  the  melodies  from  dictation,  the  student  should 
first  name  the  measure  (two  or  three-pulse):  second,  state  the 
harmonic  quality  of  each  measure,  progression  or  repose  or  Tonic, 
Dominant,  etc.,  if  one  happens  to  be  familiar  with  the  technical 
names  of  the  harmonies  employed:  third,  sing  the  melody  with  a 
neutral  syllable  to  prove  that  the  tune  has  been  retained;  then 
name  by  syllable  or  scale  number  and  write  in  perfect  time  as 
directed  in  paragraph  32. 


14 

Ex.24. 
1 


£f=T 
&^ 


^^i 


f  ru 


f^-c   i  fe 
J  ii    j  ig 


42.  Introducing  the  dotted-quarter  note,  compare  the  length 
with  quarter  notes  by  tapping  the  beat  of  the  measure  with  one 
hand  and  the  time  values  with  the  other,  as  in  the  preceding 
lessons.  If  one  is  weak  in  rhythm,  this  should  be  done  with 
each  example  before  it  is  sung. 

Ex.  25. 

1  2 


m 


v^—r 


^j.^iJ-J-jir;iJ.ii^''jir-^jijpa 


i 


^* 


la 


10 


11                                                             12 

0     h      1                                                                  '                 ' 

i  L  P   J  r- 

K-f^~ 

-1  1 

-3  

,^> 

—  1  K    *"1 

\-P  —  <»  r 

Tjj 

•ig  .  —  1- 
^_  L 

-!&  ' 

—  fc 

J       .P  J    J 

13 


14 


jM'jiJ««n 


43.  After  i,  3  and  5  of  scale,  there  is  a  reason  why  the 
scale-2nd  should  be  the  next  tone  introduced.     Employing  the 
Dominant   as  root   and   harmonic-generator,  its  fifth,  the   next 
overtone,  is  the  scale- 2nd.     Experience  with  both  children  and 
adults  has  proven  that  this  is  the  next  easiest  tone  to  consider. 

Teachers  who  have  sung  the  scale  for  years  and  are  ac- 
customed to  teaching  it,  naturally  think  the  scale  order  of 
presenting  material  is  the  easier.  As  a  matter  of  act,  the  dis- 
crimination between  seconds  is  much  more  difficult  than  between 
harmonic  intervals.  Incidentally,  one  gets  the  necessary  chord 
training  when  it  is  most  needed. 

44.  Sing    the    following    and    supply    a  tone    for  the  third 
measure: 


Ex.  26. 


Solution 


[     I   jr  i^E  J 


Should  one  fail  to  sing  Re,  the  fifth  above  the  Dominant,  test 
the  feeling  for  rhythm.  Without  that,  even  the  very  talented 
often  fail.  If  with  well-established  rhythm  one  fails,  play  the 
Dominant  chord  for  that  measure. 

When  untrained  singers  (old  or  young)  are  asked  to  do  what 
has  been  required  here  and  in  the  preceding  lessons,  with  no 
idea  of  what  is  expected,  they  invariably  sing  the  tones  as  they 
occur  in  the  overtone  series.  The  teacher  should  not  play  it 
first,  but  let  the  student  find  the  tone  with  only  the  suggestion 
to  sing  something  higher. 


16 

45-  ANACRUSIS  is  the  technical  name  applied  to  the  frac- 
tional part  of  bar  or  measure  at  the  beginning  of  a  phrase. 
The  anacrusis  throws  more  weight  on  the  first  accent  than  it 
would  otherwise  have,  so  a  tone  may  be  emphasized  by  beginning 
a  phrase  with  an  anacrusis: 


IJ 


As  shown  in  Ex.  21,  when  moving  directly  to  resolution, 
Re,  scale- 2nd  may  resolve  on  the  Tonic  or  the  scale- 3rd. 

46.  Taking  the  following  exercises  from  dictation,  observe 
the  closing  tone  and  how  it  is  approached — from  above  or 'below. 
If  one  is  very  slow  in  retaining  the  melodies,  follow  the  direction 
of  the  melodic  movement  with  chalk  or  pencil,  then,  remem- 
bering what  is  above  or  below  the  cadence  tones,  one  must  surely 
recognize  definitely. 

Observe  especially  the  harmonic  character  of  the  second 
measures,  which,  in  a  four-bar  melody  may  be  either  Tonic  or 
Dominant.  By  listening  for  the  measure  and  section  quality, 
one  acquires  the  habit  of  thinking  and  hearing  in  larger  units, 
an  absolute  necessity  for  correct  phrasing,  breathing,  and  in- 
telligent work  in  harmony. 

Ex.  28. 

123  4 


m 


a  tt 


FT^? 


10 


L  "5     . 

j                        * 

1       4 

i    (•      f5      i          i     \\ 

1)   *     g* 

3  —  —  ^' 

&    1     -g.  —  L.-^L^L 

11 

f)*,tt 

12 

l—Lj  1  U 
,-*•, 

f  '"JF 

m                   \ 

I 

• 

•5 

9 

m                \ 

m      I 

•                              « 

\  tt    & 

f      !                   &• 

t      f 

17 


13 


14 


m 


JIJ.  II J  JUU 


15 


16 


ru 


17 


18 


19 

±rfc 


20 


P  |~    f2  P          m          <3  ^ 


21 


22 


•  -    r»^ 


^r=Ff 


23 


24 


Jir 


25 


26 


e 


27 


28 


29 


30 


'V  * 


— — •- 


18 


31 


32 


. 

-0- 


V^      — 4- 


33 


34 


E!  ESS  =*=L 


47.  Returning   to  the  triplet   again,  tap   the   rhythm,  and 
proceed  as  before: 


g?J|J  JT>|J  J^T^~r^=H?^ri  lrr!^~l^  fl" 


10 


19 

48.  Drilling  on  the  dotted-eighth  and  sixteenth,  observe 
the  imitation  or  repetition  of  either  melodic  or  rhythmic  figures. 
Mark  the  groups  as  A,  B,  etc.  For  example,  Nos.  2  and  3  are 
A  +  A,  rhythmically,  and  No.  4  is  A  +  B.  Do  this  before 
trying  to  write  the  melodies  from  dictation: 


-* — K^ —    ^     J !       i    *  0~  0  \ — —  -I — h-^ — p-<* i — 0 j— 3 0-  — 

)T».[.il;  •  I'-*  ^  b^fr^r^Tr-^i?^^ 


m 


&•"•  ;or*"A 

TT 


s: 


P-« 


s 


20 

49-  In  the  minor  mode  of  a  scale  or  chord,  the  third  is 
small.  The  scale  syllable  is  Me,  pronounced  "May".  Sing  Do, 
Re,  Me,  npt  La,  Ti,  Do,  or  1-2-3,  n°t  6-7-8. 


Ex. 


'      « 

0             _ 

\      *  ,    • 

w 

& 

At  a  slow  tempo  like  the  foregoing,  the  minor  mode  suggests 
a  darker  shade  of  color,  or  a  more  serious  idea.  At  a  rapid 
tempo,  minors  are  very  playful,  so  one  should  not  get  the  im- 
pression that  the  minor  mode  is  sad. 

50.  What  kind  of  a  second  is  the  interval  from  Do  to  Re? 
From  Re  to  small  third?  What  kind  of  a  fifth  from  Re  down  to 
Sol?  What  is  the  interval  from  Re  up  to  Sol? 

If  one  has  difficulty  in  thinking  the  minor  mode,  sing  a 
given  pattern  in  the  major  mode  first,  then  in  the  tonic  minor, 
not  the  relative.  Sing  all  of  them  in  the  minor  mode: 

Ex.  32. 

1  2 


m 


§d- 


Hh      , 

i 

n  —  h 

-\  —  1 

i 

?    1 

-J  Tr 

—4— 

^ 

H— 

— 

5—  fr 

-j  —  i  — 

-1— 

e 

5 

•\ 

i 

6 

)  — 

i— 

m    f 

A  • 

* 

—  i  —  ; 

- 

--*:  p  

•»  —  *n- 

U 

rj- 

7h 

> 

—  u 

f- 

i 

i 

-  -!  P~f- 

~i~ 

i 

a 

7 
9  — 

—  t- 

i 

l^ 

—  i  1  —  r 

hr 

-4 

—  1- 

1  — 

—- 

H- 

-r 

H  —  3EE 

t-  v  —  r 

—  i  —  • 

21 


Si 


10 


r 

c/ 


11 


12 


g  Tl  '    b 
\j 


^ 


13 


14 


15 

fcrft 


» 


f: 
16 


fUJjU-uJfir  J 


22 


17 


I  y 

1=  J  ^  J 


f: 
18 


19 


i 


£=:±r=M: 


2 


t3- 


a: 
20 


0     u 

^ 

ZZ23S             « 

I            m 

•          n 

1 

b    *»     i 

m  r 

r         J 

0 

J            N 

Sr_2            D 

•»  • 

J      f  J 

-•  • 

» 

« 

51.  The  six-eight  measure  seen  in  the  following  is  a  com- 
pound of  three-pulse  taken  at  a  rapid  tempo.  This  measure  is 
often  counted  two  instead  of  six,  counting  the  accents  only, 
giving  the  effect  of  a  two-pulse  measure  with  triplets: 

BIRD  SONGS. 


23 

52.  Sing  the  degrees  of  a  minor  triad,  holding  each  with 
the  piano,  or  if  in  class,  with  other  voices  until  the  entire  chord 
is  heard.  The  tones  should  not  be  played  for  the  student,  who 
should  be  able  to  think  them  without  aid.  If  one  is  studying  alone, 
the  pitch  may  be  tested  by  the  instrument. 

It  is  well  to  alternate  the  major  and  minor  mode,  changing 
Me  to  Mi  if  the  syllables  are  used. 

Ex.34. 


A         &.    ,£>.    ,£> 

^>'    "^y    *^^ 

*-  ».            j—  i 

^2          /^ 

n.  >   ] 

ten        "xB'-'rfaM., 

,             —  . 

r*"l'       "  <**~ 

j^j'       'j^'  '       'X3 

fj     <*  —  I 

Students  have  more  or  less  trouble  with  the  minor  mode. 
The  principal  reasons  are:  first,  the  use  of  major  syllables  which 
destroys  the  feeling  for  the  Tonic.  The  so-called  relative  minor 
is  only  relative  in  the  matter  of  signature.  The  Tonic  and 
Dominant  are  the  elements  that  define  or  establish  key,  and 
these  are  lost  when  one  thinks  of  a  minor  Tonic  as  the  sixth  of 
the  scale.  Dealing  with  melody  only,  this  might  be  done,  but  it 
is  very  confusing  to  have  one  system  for  melody  and  another 
for  harmony. 

Another  reason  for  not  doing  the  minor  keys  well  is  the 
lack  of  practice.  If  one  thought  in  one  mode  as  often  as  the 
other,  there  would  be  no  lack  of  understanding  and  facility. 


CHAPTER  IV. 

SCALE-SEVENTH   IN  MELODIC  AND   HARMONIC  RELATION. 
AUTHENTIC  CADENCE.     CHORD  INVERSIONS. 

53.  Every  tone  generates  a  pure  fifth  and  large  third,  so 
the  next  tone  to  be  considered  after  the  Dominant-fifth  is  its 
third,  the  scale-seventh.  This  tone  should  not  be  given  to  the 
student,  but  let  him  find  it  if  possible,  by  singing  the  following 
pattern  or  something  similar,  supplying  a  tone  for  the  pulse 
between  D  and  A: 


Ex.  36. 


-0-r 


Solution. 


If  one  should  not  sing  Ti,  scale-yth,  play  it  as  given  in  the 
solution.  When  it  is  found,  observe  its  scale  relation  to  the 
Tonic,  also  its  chord  relation  to  the  Dominant. 

54.  They  who  use  the  syllable  names  are  less  likely  to  be 
confused  with  the  scale  and  chord  numbers  which  are  not  the 
same,  excepting  in  the  Tonic  harmony.     Whatever  the  names  or 
means  employed  to  keep  the  scale  and  chord  numbers  distinct,  it 
must  be  done.     The  lack  of  this  knowledge  is  a  great  handicap  in 
the  study  of  harmony.     If  necessary  to  drill  on  it,  sing  both 
relations.     For  example,   Ti,  chord-three  to  Do  will  go;    Re, 
chord-five  to  Do  and  Mi.     Using  the  scale  numbers,  scale-yth — 
chord-third:     scale-2nd — chord-fifth.     Playing    the    harmonies, 
Tonic  and  Dominant,  with  the  various  degrees,  helps  vastly  in 
acquiring  the  feeling  for  harmonic  quality. 

55.  What  is  the  interval  from  Do  down  to   Ti?     Moving 
directly  to  resolution,  what  does  Ti  demand?    What  other  tones 
demand  Do? 

56.  Employing  the  three  tones  in  chord  relation,  we  have 
the  Dominant  harmony  which  the  teacher  and  more  experienced 
student  has  used  in  the  preceding  lessons. 

57.  In    class  work,  all  sing  a  given  Tonic,  and  different 
ones  the  three  tones  of  the  Dominant  triad,  closing  with  the 
Tonic  as  at  Ex.  36,  a;  then  with  the  various  resolutions  as  given 
in  this  example: 

24 


58.  This  relation  of  the  Dominant  harmony  followed   by 
the  Tonic  is  called  the  AUTHENTIC  CADENCE. 

Play  the  different  positions  of  the  cadence  in  both  modes, 
both  open  and  close  position. 

In  doing  individual  work>  play  two  tones  of  the  chord  and  sing 
the  other. 

59.  The  chords  of  a   key  are   designated   by  Roman  nu- 
merals that  correspond  to  the  scale  degree  of  the  root.     In  the 
minor  mode  they  are  smaller  and  with  dots  above: 

Ex.  37. 


r\ 

1 

1 

dJ 

J>J 

1  , 

1 

°j  y> 

5i 

sta 

-^ 

I 

n  & 

'/ 

&             V 

r?   £2 

>     , 

j&  a< 

K^  . 

_  ^ 

K  -     K^ 

K_r 

1_     , 

23 

k5i-  . 

\v  & 

r- 

^ 

'^   ^ 

)' 

s 

'*"  & 

V&L  . 

7^-/o 

ITS:     9i 

"        ^3 

BE 

BE 

_^.. 

?^ 

J       K* 

? 

1 

^    & 

-5^     -; 

'<&    g 

(S'l! 

S-^ 

^  y 

& 

I 

V 

^ 

I 

i    v 

1 

i 
I 

J 

1 

1 

J 

J- 
J 

r    1 

2 

^ 

2 

1     £i 

23 

^, 

^9  —  < 

—TZ 

-  -&— 

-  —  i-^ 

'- 

-  •  -&- 

S*_ca. 

4< 

60.  After  playing  the  foregoing  patterns  in  many  keys, 
modes,  the  student  should  name  them  from  dictation,  stating  the 
chord  degrees  that  occur  in  the  outside  parts.  For  example, 
No.  i:  Tonic,  root  and  fifth;  Dominant,  third  and  root.  In  this 
illustration,  the  lowest  part  has  been  mentioned  first.  As  it  is 
usually  more  difficult  to  hear,  give  it  the  first  attention. 

Written,  the  example  would  appear  like  this: 

585 
1  V  I 
838 

Attention  is  called  to  the  fact  that  the  Arabic  numerals  in- 
dicate the  chord  degree,  not  the  scale  numbers. 


For  home  work,  these  patterns  taken  from  dictation  should 
be  expressed  in  music  notation  and  the  full  triad  written  as  in 
Ex.  37.  The  work  should  be  brought  to  class  for  correction. 

61.  Sing  the  following  exercises  in  both  modes,  after  which 
they  should  be  written  from  dictation: 


Ex.38. 

*t 


3. 


fe 


3 

"    U 


'f  J  i*  J  IJ  J  J  |J 

==g=*=1-     *     |J     '-^—  F^ 
~ 


•^|.  j  ,  [p^z 


10 


ii 


ftftt  J   J   J 


- 1  r  I-  ^  i'J- 


^ 


12 


*fi 


^ 


-!-•- 


14 


-frr 


15 


'  I J  r  J 


16 


17 


18 


19 


27 


20 


21 


« — M-«  .  •• 


22 


23 


24 


25 


26 


27 


a: 

28 


29 


30 


31 


32 


33 

dt 


34 


35 


±^s 


36 


37 


38 


28 


40 


^ 


47 


3         3 


45                                                    46 

,    u, 

'   L* 

W-T- 

•*-*-f- 

^y  r 

-^Trf^r- 

{-*- 

*•??'• 

48 


49 


fgg 


50 


Ji^ 


To  vary   the  work,  more  harmonic   study  is  placed   here, 
after  which  the  melodic  dictation  will  be  resumed. 

62.  In  four-part   music,  necessarily   one  degree  of  a  triad 
must  be  doubled.     Referring  to  Ex.  6,  one  sees  that  Nature's 
plan   has   more   roots   than  fifths,  and    more  fifths   than   thirds. 
Knowing  that,  listen  for  two  roots  or  fifths,  but  not  two  thirds. 
The  latter  may  occur  later,  but  not  at  this  stage  of  the  work. 

63.  A  chord  is  said  to  be  inverted  when  other  than  the  root 
occurs  in  the  bass.     It  is  said  to  be  in  the  first  inversion  when  the 
chord-3rd  occurs  in  the  bass,  as  at  a,  ~Ex.  39. 


Ex.  39.  1 


For  self-help,  play  the  chords  and  mark  the  degrees  of  both 
the  outside  parts.  By  all  means,  transpose  every  pattern  into 
several  keys.  This  is  one  of  the  very  best  means  of  ear  training 
as  well  as  hand  training,  and  should  be  done  persistently.  This 
should  be  one  of  the  important  tests  required  by  the  teacher. 

64.  In  taking  from  dictation,  the  student  may  only  be  able 
to  recognize  the  harmonies  and  write  the  Roman  numerals  at  the 
first  hearing;  and  it  may  be  necessary  to  have  the  pattern  re- 
peated when  taking  the  outside  parts.  Eventually,  all  should  be 
recognized  at  one  hearing. 

Reversing  the  process  of  the  preceding  lesson,  write  the 
Roman  numerals  that  indicate  the  harmonies  played,  then  the 
two  outside  parts  in  staff  notation.  Nos.  i  and  2  of  Ex.  39 
would  appear  like  this: 


nil                    i      1        ! 

v 

i       w 

^y 

/L        *      m 

22 

frn 

\^\) 

k7 
IV         I 

I       V          I 

i^l* 

*-/• 

*^-S              A 

^2 

tf              _ 

22 

P 

I-        r—  r      r 

Ex.  40. 


65.  When  there  are  inversions,  one  oftcner  hears  the  chord- 
root  or  fifth  in  the  upper  part  if  the  chord- third  or  seventh  is  in  tlie 
bass,  and  vice  versa.  This  is  not  always  so,  but  the  most  frequent. 


30 

For  home  work,  the  chords  should  be  completed,  the  in- 
versions indicated,  also  the  chord  degree  of  the  upper  parts. 

66.  When  the  chord-5th  occurs  in  the  bass,  the  chord  is 
said  to  be  in  the  second  inversion,  which  is  indicated  by  the  figure 
5  below  the  Roman  numeral. 

In  this  inversion  of  a  triad,  the  bass  note  is  usually  doubled. 

I  and  V  are  of  similar  quality,  the  former  possessing  more 

5 

of  the  Dominant  quality  than  of  the  Tonic.    If  one  has  difficulty 
in  distinguishing  them,  remember  that  I  is  followed  by  a  Domi- 

5 

nant,  almost  invariably,  while  V  demands  the  Tonic  only. 

67.  When  the  Authentic  Cadence  closes  with  the  root  posi- 
tion of  both  V  and  I,  it  is  said  to  be  "Perfect."     Otherwise,  it 
is  "Imperfect"  and   less   final   in  effect.     Because   of   the   pro- 
gression quality,  the  second  inversion  of  the  Tonic  (I)  is  not 
used  for  the  last  chord  of  a  cadence. 

68.  Play  the  following  in  both  modes  and  mark  the   in- 
versions before  they  are  written  from  dictation: 


Ex.  41. 

1 


J  Jij  || j  ji'j  II j  JJ 

4 — 4-  d      •  =i=*-  <c)      -  -9 — 4-  -*• 


^ 


J^ 


^tfif-^tHffr 


V 

5 


V 

5 


i 


31 


fcfc 


m 


i 


10 


Ji 

eji 

1       1 

•      i 

q 

j 

\ 

'       J 

3      n 

w 

J>. 

J       l 

; 

0 

r  r  +  +  +- 

•P-     -0-        1 

Wj  —  1  U  — 

i        t 

-P  

S2 

-f  P— 

H  b— 

a      • 

22 

£>  —  n  —  r- 

-*  —  r— 

-1  

yz  

-•— 

-»  —  EE 

—  

I~p3  ' 

69.  When  the  Dominant  chord  falls  on  the  rhythmic  ca- 
dence as  in  the  middle  of  Nos.  n  and  12,  it  is  sometimes  termed 
a  "  half -cadence  "  also  "rising  cadence."  As  the  effect  is  similar 
or  equivalent  to  the  interrogation  point  of  literature,  the  term 
"rising  cadence"  is  appropriate. 


11 


/i  0 

h     1         1 

J 

J 

I      i 

: 

1 

1     i 

H  —  4 

J— 

-*  

-J  —  *- 

--»  5- 

| 

m  r   i 

M  —  3~ 

—  *j  — 

* 

* 

-  -^3  —  • 

• 

j    • 

^y 

f 

3 

P 

*^/ 

s^ 

f3 

i 

m 
—  P—  , 

p 

• 

-*- 

m       m 

~T*  —  P~~ 

l   Czt 

'    - 

-»  

i        L 

—  p- 



V 

P       P 

I      P 

™              ! 

J2H 

12 

r,       A    1 

1 
J        1 

J    - 

1 

J       J 

j»s^ 

J       J 

J-     J 

r 
j  j 

i 

i 

fl-3 

*           + 

•             J 

S2 

J             • 

*          9 

X- 

ft  ^ 

1 

^~ 

-G  

•^  • 

5 

1 

^ 

»- 
— 

J. 

1 

s 

f  ^ 

t   f- 

P7"-f 

—  A  — 

— 

—•— 

l>  

•  h-  — 

T  1  

7*5  ' 

V^' 

f  — 

• 

-f.  —  U- 

1 

w 

ta         p 

—  L— 

H  — 

H 

-f 

1 

1 

32 


13 


j^d^Ud 


f T T 


J 


,.   «   j      •   »   ^^-6 


r  r 


14 


J.        ,J 


r;;Jr^  1.^=1^ 

r,i i  [  v  'I 


.    j     j. 


^ 


~^— 


'       i 


r 


70.  Sing   the   following  and  mark  the  sections  or  phrases, 
A,  B,  C,  etc.,  after  which  they  may  be  written  from  dictation: 

Ex.  42. 

1 


i 


m 


m 


i 


»«.j  i. 


R: 
5 


^ 


33 


& 


e: 
8 


10 


ftdt 


11 


?fe 


HJ«»IJ  J 


P* 


12 


-a j-ffjt  f  .    f?f-4- J  ^   y  I  ^  ,    I  I  ^-^-h^~       |p  T^H 

f>-  -?-ii44j  x  x  I J    bj  I  =fg=*M    =^=H      J  I  ^  •  h  J 

-tr-  »~^  ^.m     & 


I 


13 


^ 


14 


S 


f-X-X- 


>> 


£? 


15 


i*  Jif  rnrr  ru 


34 


16 


17 


g- 

18 


19 


g: 
20 


21 


V.0  f  -g — i—  P  f  ^ 

IP  I  I  M-l-^Rr 


c: 
22 


23 


9     * 

w 

^  ' 

.         , 

^  • 

»  .  - 

_!          P   i 

,      J 

^l/    9 

r^ 

» 

• 

3  •  J 

Cs          0 

d: 
24 


25 


35 


26 

n    h 

r-tP-  —  »- 

—  f  —  i  —  i  —  -f— 

kfr    •  1  —  JT  »— 

y=  =fc=    J   n 

~9 

- 

=ff^= 

i  —  i- 

^ 

X                  |                            Tl 

27 

oft     ,     i 

i  —  i  —  qp  —  i  —  i  —  i 
~i  rl  —  i  i   J 

-fl1  —  ' 

—  - 

Rff  f  r  FJ^ 

-9—        -&-*-      * 

id 

-U 

•^ 

i^- 

28 


29 


f 


/'Tt      J 


71.  What  is  the  interval  from  Ti,  scale-7th,  to  Mi?     What 
kind  of  a  fourth? 

72.  Unless    it   moves  chord-wise,    after    an    interval   of   a 
fourth  or  more,  the  melodic  direction  is  usually  contrary  to  that 
of  the  leap: 

Ex.  43. 


)  —  +-*- 

^-^- 

-^  — 

q= 

_^  —  .  

-* 

-J-=-r- 

-^ 

-*- 

r»  — 

not 


not 


73.  Consider  the  following  intervals  as  indicated  and  com- 
plete the  melody  by  adding  one  or  more  measures: 

Ex.44. 


1    7 


3     2 


3     2 


1     7 


36 

74-  What  is  the  interval  from  Sol,  scale- 5th  up  to  scale- 
7th?  What  other  large  third  has  been  sung?  What  is  the 
interval  from  Sol  down  to  Ti?  What  other  small  sixth  has  been 
sung?  Add  to  these  as  in  the  preceding  example,  thinking  the 
tones  as  indicated: 


p       1 

r 

M 

ZB2I 

i  r  4- 

1    Jk 

—&-         *—*r-j        "  •             -hr— 

13                  57                   38                 75 

Ex.  45. 


75.  For  the  following  exercises,  the  teacher  should  play 
the  first  two  notes  for  the  student  to  name  the  interval,  then 
the  whole  melody  for  the  student  to  find  the  Tonic.  For  ex- 
ample, at  No.  i  the  reply  would  be  "a  pure  fourth."  What 
pure  fourths  have  been  heard  and  sung?  From  Sol  up  to  Do, 
scale-fifth  to  Tonic,  and  from  Re  up  to  Sol,  scale-second  to 
Dominant.  Listen  for  the  Tonic  and  tell  which  of  these  fourths 
it  is,  then  name  the  complete  melody: 

Ex.  46. 

1  2 


^F^ 


W 


-73- 


JL  -              m 

1*  •      N 

«      •*» 

. 

r  •      n 

-  '  1 

w  \— 

£-  —  P- 

9  •    p 

s 

m        w 

•v    .p  .    i 

L)  0  1  0  1  LI  

9                                                         10 

A                                                        i 

B                  m 

m 

K, 

m 

m 

A          f   » 

.     r 

Et 

r     -  -&~  • 

m  T  » 

^2.  •    . 

13 


14 


76.  What  is  the  distance  from  the  scale-seventh  up  to  the 
small  third?    How  many  small  seconds  are  included?  An  interval 
that  is  smaller  than  pure  or  small  is  said  to  be  DIMINISHED,  so  this 
is  a  diminished  fourth.    It  occurs  in  the  minor  scale  only,  and  in  this 
one  place,  unless  made  so  by  chromatic  alteration. 

FOR  SELF- HELP,  SING  THE  INTERVAL  IN  DIFFERENT 
KEYS,  testing  the  pitch  with  an  instrument. 

77.  What  is  the  distance  from  the  small  scale-3rd,  Me,  up 
to  large  scale-7th?     How  many  large  seconds  are  included?     An 
interval  larger  than  pure  or  large  is  said  to  be  AUGMENTED,  so 
this  is  an  augmented  fifth. 

Diatonically,  it  occurs  nowhere  else  in  scale.  The  tendency 
of  an  augmented  interval  is  to  diverge,  so  there  are  two  reasons 
why  this  particular  seventh  should  resolve  on  the  Tonic  and 
move  contrary  to  the  principal  given  in  paragraph  72.  Both  the 
nature  of  Ti,  scale-7th  and  the  augmented  interval  demand  this 
resolution. 

Singing  consecutive  large  thirds  is  difficult  for  most  people, 
but  it  is  much  easier  if  one  thinks  it  in  key  where  it  actually 
occurs. 

Ex.  47. 


fe^iMf^^^a^teSEH 


Sp=g 


78.  The  triad  built  on  the  small  scale-3rd  is  known  as  an 
augmented  triad  because  of  the  augmented  fifth  which  it  con- 
tains; a,  Ex.  48.  Name  the  different  types  of  triads  from 
dictation,  or  indicate  in  writing  by  the  signs,  +,  — ,  /,  for 
major,  minor  and  augmented,  respectively: 


38 
Ex.48. 

a 


& 


-g— - 


*SL_.j*^_n 

^§= 


3^ 


79.  From  dictation,  name  the  types  of  sixths  of  Ex.  49, 
then  sing  a  tone  which  will  complete  the  triad,  making  three 
distinct  types  as  at  a: 


Ex.  49. 


A> 


One  can  do  this  without  the  aid  of  a  teacher  by  testing  at 
the  piano. 

Write  the  root  letter  under  each,  using  capitals  for  the 
major  chords,  small  letters  for  the  minor,  and  the  acute  sign  for 
the  augmented. 

80.  In  the  following  examples,  G  is  used  as  root,  third 
and  fifth  of  both  major  and  minor  triads.  For  home  work, 
do  this  in  many  keys,  keeping  the  given  tone  in  each  of  the 
three  parts  as  shown  in  the  copy.  For  training  in  tone •- thinking , 
sing  the  tones  that  are  to  be  added  before  playing  them.  For 
an  ear  test,  this  should  be  played  in  class. 


x.  60. 

i   U- 

n      ' 

N    ;              U~\                  I^-N    i               U" 

^         *      4         m      e>          • 

,j    J^J    J^J 

) 

k  b  1 

)  —  £— 

g»  —  jrf??  —  y-\-*  — 

2 

o   - 

4     4     ^ 

rz*  ^  —  r^j  ^»~ps?  5~i 

t"  .    p        r 

j^q                 2^.                  g| 

^-^  Jf  —  (^  —  —  5?  — 

)  P  — 

—  &  0  9  0  9  — 

1  —  K 

3 

A                \  ^~s\                \  ^^4                 1  v^. 

J'     X         f        -     bJ        - 

A           \  x_xl            >%_,/l 

L    1           ~           !           ^           I 

a         f.,      ^         +>     v*zi          E 

?«          *       /a          «^     :  <d         i 

i            1        i                  3             I 

1                                    !                                    1 

is             m       si             m—C3 

r        * 

.^             *     ,&             *    *  .&          \ 

^* 

r>»          -35-              V    "~'-^u                >»    "~ 
x  •»    x  f     x 

\             ~       !                      1 

39 

8i.  Taking  two-part  work  from  dictation  is  more  difficult 
than  three  or  four-part.  Knowing  that  the  low  part  must  close 
with  the  root  or  third,  listen  for  the  direction  of  the  approach. 
Knowing  what  resolves  on  the  Tonic  from  either  side,  listen  for 
what  must  be;  also  the  same  way  for  the  approach  to  the  third. 

For  self-help,  sing  one  part  while  playing  the  other,  testing 
as  usual: 


Ex.  61. 
1 

2                      3 

J    J      J 

4 

J  j  J 

5 

J  j   J 

Jgft     J 

•—  -J 

—  j  —  i  —  ' 

J 

-s>  *  —  «  s* 

-  -»  — 

z 

—  a  — 

0 

*     r  f 

nr  i  * 

1  f  ' 

1  r 

-f~ 

10 


\   ~     F     1 

fv 

< 

. 

5? 

i 

1 

i           /^ 

« 

s? 

*    i  •  "^" 

2           ,       f 

* 

i            f    i 

1       1 
11 

o     J 

J 

f 

>- 

1 

2 

J 

» 

I 

f 

13JJ 

14 

J 

i    Lj  i 
i       J 

/  ,      • 

J 

^^ 

**~ 

i       i 

» 

-j^— 

)i7  * 

»- 

-  -75- 

( 

• 

^ 

•- 

-^ 

*        *' 

1  ^ 

~^s 

• 

•  *  •  i  ^ 

i    C 

15 

A                  , 

. 

16 

1 

17 

!     ~ 

18 

\ 

i 
] 

£aT 

9 

J 

I 

T          • 

u 

• 

F 

* 

•\  "       f      ^ 

/^- 

* 

-tf 

£ 

» 

-^    L«- 

+ 

^ 

f    ,           <^ 

22 


23 


24 


30 


31 


32 


33 


34 


{-   - 


35 


I   r 


J 


36 


37 


38 


39 


I 


40 


^f 

41         3 


42 


i 


43         3 

^p 
_0^ 


44 


45 

JT1 


46 

1 


47 


IT 


i: 


T 


CHAPTER  V. 


SCALE-FOURTH:  DOMINANT  SEVENTH. 

82.   Play  the  harmonic  series  of   Ex.   52   and   sing   a  tone 
higher: 


Ex.  62. 


& 


Few  there  are  who  will  not  sing  F,  a  small  seventh  above 
root,  and  when  placed  in  scale  relation,  the  fourth  of  the  scale. 

83.  From  Ex.  21,  one  hears  that  Fa,  scale-4th,  demands  or 
resolves  on  the  scale-3rd.     What  kind  of  a  second  is  it?     What 
other  small  seconds  have  you  heard? 

The  small  seconds  are  the  intervals  that  determine  a  scale, 
and  they  may  be  recognized  by  the  melodic  direction  in  which 
they  move  to  cadence. 

84.  What  type  of  fourth  is  the  interval  from  Tonic  to  scale- 
4th?     Sing  and  resolve  the  fourths  that  have  been  considered  in 
the  preceding  lessons. 

85.  Place  the  scale-4th  in  melodic  relation  with  the  preceding 
scale  degrees   something   like  the   following,  and    transpose    tc 
different  keys  and  modes: 


Some  successful  teachers  think  it  an  excellent  practice  to 
sing  from  the  scale  numbers  instead  of  the  notes  on  the  staff,  at 
least  a  part  of  the  time. 

It  is  good  practice  in  tone-thinking,  because  one  has  no  aid 
from  the  staff  positions.  It  is  sometimes  convenient,  especially 
at  a  concert,  when  a  passage  might  not  be  remembered. 

41 


42 

86.  Writing  the  scale  numbers,  place  a  dash  over  or  under 
the  figure  to  indicate  the  melodic  direction,  if  the  interval  ex- 
ceeds a  third.     For  example,  in  the  fifth  group,  the  mark  below 
5  indicates  the  fifth  higher  than  the  preceding  tone.     In  the 
eighth  group,  the  mark  above  7  indicates  that  Ti,  scale-yth  is  to 
be  taken  below  the  preceding  tone.     In  other  words,  sing  above 
or  below  the  dash. 

Ex.  64. 

1—4  |  3.        r|  2—4  |  3.        1—3  |  4—2  |  1—7  |  1. 

1—3  |  2—4  |  3.        1—3  |_5— 4  |  3.        1—3  |  5—3  |  4—2  |  1. 

1—3  |  4—2  |j>-5~ |  1.        1—3  |  2—4  |~7— 2  |  1. 

1—3  |  4—2  |_5— 7~|  1.        5—3—1  |  2— 4— ~7~|  i. 

5— 1— 3~|  4-^7— 2  |  1.        5— 1— F|  4— 2— 5_|  1. 

5—3—1  14—2—7  |  5—3—2  |  1.    5—3—1  |  7— 2— ~5  |J— "2— 3  |  1. 

Melodies  taken  this  way  from  dictation  should  be  written  on 
the  staff  at  home  and  sung  by  letter  names  at  the  class  recitation. 

It  is  unnecessary  to  include  more  examples  of  this  work,  as 
all  of  the  melodies  can  be  so  written  if  one  chooses. 

87.  As  seen  in  Ex.  52,  Fa,  scale-4th  is  a  small  seventh  above 
Sol,  the  root  and  generator  of  the  Dominant  harmony.     This 
four-tone  chord  is  called  the  Dominant- seventh  chord. 

88.  Play  the  following  exercises  and  mark  the  chord  degrees 
of  the  outside  parts  as  in  the  preceding  lessons.     As  it  is  very 
important  that  one  should  think  and  hear  the  material  in  both 
scale  and  chord  relation,  sing  each  part,  naming  both  relations. 
This  work  should  be  done  at  home,  as  the  teacher's  time  is 
needed  for  what  a  student  cannot  do  for  himself. 


Ex.  55. 
1                               2 

A 

3                             4 

V                   o 

^>                 —., 

^!> 

zumzg      %      ^ 

'S'              ^              £> 

^y                   _^,                (^ 

1      (S/                   ^,                  £X 

lm       X--        _xs    xi 

,O                       <?          j-^ 

fr-b        1      1     '      '   \    J          J 

43 

: 

si'l~*-s5  1- 

kb    3    a|     -3—^—  -&—&T-  -^-£—  •&• 

-K  —  &  &**•&  9  1- 

J              £{A         ^^^       t&         ^^             ^^         ^^             ^^         ^^             ^^ 

& 

&•      &         ts^^'p,     *,          1 

9 

}fc    5    i-t-r-J  1    ,   |      1  r-T—  i 

ID 

• 

r*-H             H 

;r  I  i  j  fe  —  J  U-«=^-E=^ 

j 

E                     !   i~'i~*~~? 

- 

—  i  —  '  —  {  —  S  —  ^^  —  ^—  J 

•     s      •     '^s  -««  -g-: 

11 

T^                 1          J                               • 

1 

/  **li    m                            t           m                               1               i                _l 

• 

f         4                                              -1 

i 

?                                 ! 

•\tri     I      2*    c       i     »-    ^     :  JU 

• 

r 

fi         -                           X". 

89.  What   is   the   distance   from  scale-yth  w/>  to  scale-4th? 
How  many  small  seconds  does  the  interval  include?    What  is  the 
name  applied  to  an  interval  that  is  smaller  than  pure? 

What  is  the  interval  from  scale-yth  down  to  Fa,  the  scale- 
4th?  What  is  the  name  applied  to  an  interval  larger  than  pure 
or  large? 

What  type  of  third  occurs  between  scale- 2nd  and  4th? 

90.  For  individual  work,  sing  the   following  and   find  the 
key-note  of  each.     In  class,  write  the  same  from  dictation: 


x.  6( 

1 

2 

3 

1 

4 

7 

i  , 

1 

1 

im 

] 

r 

1  lu 

-5  — 

™ 

1 

1  n^ 

U^ 

-^  — 

\ 

" 

4 

^i  ' 

1 

"J 

_  -" 

™ 

\S!> 

.      » 

7 

3*^ 

•-* 

-1 

^   I 

jg 

5 

fl  — 

fl 

1 

6 

• 

— 

i  h 

7 

v  — 

-t—  — 

— 

f 

—  (- 

• 

\ 

* 

-- 

-|—  1" 

i 

fl 

« 

•^^ 

0 

* 

V 

* 

& 

*^ 

* 

. 
• 

^ 

10 


Follow  the  same  plan  with  these: 
Ex.  67. 

12  3 


&- 


* 


=w 


•" 

^ip 


m90-*-m- 

*    w       9 


44 

gi.  What  is  the  interval  from  Fa,  scale-4th  up  to  scale-2nd? 
What  other  large  sixths  have  you  heard?  Resolve  these  in  the 
keys  indicated: 


Ex.  68. 


J 
)      • 

•- 

—  [ 

1 

1 

1 

f  —  p 

f-t 

4     2 


5    3 


1     3 


7     2 


92.  What  is  the  interval  between  Fa,  scale-4th  and  Me,  the 
small  3rd?     Sing  1-4-3  i°  both  modes. 

93.  Play  and  mark  the  chords  in  the  following,  indicating 
the  inversions,  also  the  chord  degree  of  the  upper  part: 


Ex.  59. 
1 


1     5     1 


3  4 

1     3     1 


3 

!_  —  ~gy~  &  —  ~&~ 
•\ 

\         ^    ^ 

~?2  —  ^  —  ty~ 

&     o  —  Z7~ 

-^-&  *\ 

&     y     g. 

V 

•^     &    &   &  ' 

\gy     ^     ^  \ 

-<5>- 

\  &   f   &\ 

*-&  —  &     &   ' 

*<*&-&* 

'    "       &      <Sr- 

tf 

)-:   *  *  * 

.ffi  —  O.  

^p  £ 

E 

S          O       f-,        & 

&     &     ^ 

si    &    <z 

&     &     0 

1   to 

sy 

_£Z___<2_. 

I    V    I 
3 


I    V    I 

5 


0  fi                   f9      <y 

1  1  75  T^  ' 

^^           ^-i 

i*^        1 

^ 

r   1 

-tS  12  

t7~ 

1  _i  — 

-75)  j 

-^  —  - 

ir 

N   tt 

«    w 

S3 

r3 

r9 

^ 

r> 

^2 

—  J      L,~ 

V; 

/          /5> 

!          I 

ZJ 

f 

1 

5_     P*^ 

^2 

1                     1 

^.J.        ^.            ^.             ^ 

/i^^T           ^^ 

r^ 

-^ 

I        r 

<-*• 

[^^/  *&\L      ^  --) 

! 

^j 

e? 

r?     P 

^•j     —m 

-^j 

^j 

^2 

^.x  'TL   2. 

4^^ 

2J 

-P— 

*•+— 

-^  

2 

^i    '  f  "i  —  ij  —  H  — 

10 


11 


12 


>r 

1       d 

^    i 

d 

3 

S 

Q 

rr\     o 

g 

\±}J     C'L 

r      ZZ 

,Q 

r 

^    j2. 

-5> 

r 

^2. 

^ 

-<S^     H 

2 

I5*" 

r? 

-9- 

,  i 

f 

^^ 

[5J» 

^_ 

^y 

t^> 

-^      1 

*2 

^ 

r5 

13 


=td: 


.7, 


J 


=f*P=F 

±4U 


^ 


45 


ip 


14 


15 


<  o  b    !    1      1    1    J    1            J    I      1 

~sj  —  ^  — 

••g  —  &  — 

~&  — 

~sj  ' 

\~ 

fft\  P  1?  H  B^51 

_^ 

A      m 

— 

xj 

__ 

VMJ          ^    '^ 

:^   ^ 

&      0  f 

^ 

-^       ^x 

^-        ^. 

j? 

Sa 

£f, 

-q-                    ^g 

i»-h/9    -«»- 

Z^Si     hi       ^^       ^J> 

s^        s^, 

1        ' 

S2 

1           *2 

^2 

1       n 

Lr'h  u  ks>    F 

"r^  —  w^  

*y 

\~?2  

-75  

1  

-,2           • 

16 


a: 
18 


17 


1 

I 

\ 

|          | 

\ 

| 

| 

J 

J 

jO?  —  ^Hi 

4- 

-^  — 

'"^ 

^  — 

^ 

— 

3 

TO  —  » 

& 

-^  — 

-&•  

-^  — 

J    -^ 

J 

i 

2- 

^.1 

5 

y?    it 

4—  i 

j. 

JOL. 

^^u   ^ 

"3 

£J 

|"         [* 

,y 

-»  

2— 

j5 

Ji-. 

*  — 

s 

^  ^t?  —  t—  —  ' 

-F  — 

-\  —  •  —  ' 

3  — 

4 

1 

! 

i 

\ 

19 


r/Tk"    j  ^  • 

J    m 

EZ         1    « 

-« 

•  • 

J    »    i 

^2  • 

i^ 

f. 

P              \ 

f  •• 

M  _ 

l      '     i 

W-:  —  L   p  i» 

i    i 

*    t    1 

-^-1 

<&  ~    0 

f2 



^ 

EiEEE 

4= 

—  £ 

» 

t=\ 

--=4^ 

f— 

*  —  BE 
i      i 

94.  When  doing  the  individual  work  which  prepares  one  for 
the  class  dictation,  observe  the  things  that  usually  occur.  For 
example,  that  the  Dominant  harmony  is  major  in  both  modes  of 
the  key. 

If  third  or  seventh  occurs  in  the  upper  part,  the  root  or  fifth  is 
likely  to  be  found  in  the  bass. 


46 

If  there  are  leaps  in  the  upper  part,  the  bass  is  likely  to  move  by 
step  or  remain  stationary. 

This  is  especially  true  when  the  harmony  changes.  With 
different  positions  of  the  same  harmony,  all  of  the  parts  may 
move  by  leap. 

With  only  two  harmonies,  it  is  difficult  to  retain  two  or 
more  phrases.  Listen  for  repetiton  or  general  direction  to  rhythmic 
accents. 

There  are  advantages  in  taking  the  dictation  by  writing  as 
one  plays.  It  means  quick  recognition  and  quick  movements  of 
the  hand.  In  doing  this,  anticipate  as  much  as  possible. 

Ex.60. 


rtn 


±± 


i=l 


a!    J  U:  'g-^ 


f-T 


F 


P22  • 

» 

•-*"  • 

^j  • 

'-^'    • 

5  * 

-J    • 

"j3 

^ 

—J 

^^' 

--, 

3  • 

£^ 

—  *^  • 

<-*'  • 

<•-*'  • 

£-**  • 

E:        ^ 

,*»!  • 

0 

i        f"  • 

•  . 

•|  ^  »  _ 

^=»~* 

^   f   ^ 

~*~1*  —  ^ 

—  |  —  i  — 

gj  . 

w^  —  fcj  —  i^_ 

—  issP 

i  —  i  — 

1    «J- 

l|     ' 

1  *    J    *  ' 

-gi- 


J 


E=£ 


^ 


v2- 


y     g    if? 

—  2z:  te 


47 


^ 


i 


It 


-&- 


r-  ^r 


1,1,1  j ,j j .    .i j 

4ikJ  M  d  i:  *Hf    i-J  * 


n 


^p 


it     ^ 

a 

E 

-^ 

B2 

:i  

3C=: 

7—  V  1  1  

i  r  *= 

V&    J  P  \ 

1 
P 

i  

i^^ 

,__. 

-<x 

rg    J 

o 

i             JJ 

i 

\f 

J      ^ 

"^                ^ 

^      J 

ln\  —  ?5  — 

-^  

~^  

-3^  —  ^  — 

—  ^  — 

•  ^* 

-fit  

v>.I/          ^^      |^ 

5i 

<~^ 

^-^ 

^^ 

^, 

^     ^  * 

^ 

^  ~T 

-fi>-              -^-                -«5>- 

J^\a              >^J 

xi       *    ^ 

/^ 

^> 

S3 

P^*        L 

^ 

^P—  H 

(3 

i^1 

22 

^ 

^*-  P!  — 

3  —  l 

i  —  — 

f\  ,^ 

r^  

-^  — 

—  ^^  

-&.  . 

1 

1                                 1 

•^r" 

^ 


c 


SS6 


•|g-    Ig-     frx 


48 


10 


Beethoven:  Op.  10. 


?  — 

x— 

N=^ 

^-^ 

J^ 

-a  —  •  —  * 

fc 

«. 

y 
? 

V- 

i-fi>  •              •    1 

r  r  f  •- 

SJ            ^ 

s 

/*— 

\ 

• 

-• 

•  V  i 

i 

s? 

r 

r"r  r 

95.   Dictation  including  Fa,  the  scale-4th  in  relation  to  all  of 
the  preceding  scale  material: 


Ex.  61. 

1 


P?3 


=pc=^ 


10 


f  r  *a 


a: 
11 


12 


13 


14 




g—    0 


15 


16 


v  r J  Ir  JH^J-IJ^Hr  J7T^ 


17 

rtfc 


49 


18 


19 


-P3- 


20 


21 


22 


23 


24 


25 


.s. 


26 


27 


±± 


*-* 


28 


*  J   I  I  -  s  S 

•  i  *  J  >  ^  ^ 


30 


BEE: 


32 


33 


:- 


^>— 


34 


35 


40 


g^ 


*-^ — *- 


41 


Old  English. 


J    J    i  |J    J    J 


£E£ 


42 


Russian  Dance. 


j-u 


96.  When  scale-4th  occurs  as  fifth  of  the  Subtonic  harmony, 
on  the  large  scale-yth  it  forms  a  diminished  triad.  As  a  result  of 
the  diminished-fifth,  there  is  an  augmented-fourth  in  both  of  the 
inversions  of  the  chord.  Hearing  that,  one  is  sometimes  con- 
fused in  the  aural  recognition. 


51 

a.  The  diminished  mode  of  a  chord  is  indicated  by  the  sign, 
o,  as  at  Ex.  62.  In  four-part  work,  the  third  of  a  diminished  triad 
is  usually  doubled. 

97.  What  is  the  mode  of  the  Subtonic  chord  built  on  the 
small  scale-yth?     In  this  case  it  is  not  heard  as  a  part  of  the 
Dominant.     Why? 

98.  Before  taking  them  from  dictation,  play  and  mark  the 
chords  of  Ex.  62,  indicating  both  the  root  and  the  mode: 


Ex.  62. 


~  L        ,?  tt-^,  ^»^     >?  \?y^v<'<rrLU*,      v_    u_ 


99.  First  sing,  then  write  the  note  that  will  complete  the 
various  triads  of  which  these  sixths  could  be  a  component,  as 
at  b: 

b 


Ez.  63. 


±7-7^^ 

(.0)    L  - 

C/        "'•'       &*       C/       ^       °^ 


m 


TOO.  As  one  takes  the  longer  and  more  difficult  melodies 
from  dictation,  listen  for  repetition,  imitation,  sequence  or  strik- 
ing rhythmic  figures.  One  should  always  hear  and  feel  the 
grouping. 

Tap  the  rhythms  which  include  the  sixteenth  notes  before 
singing  or  writing  them  from  dictation: 


52 


X     •  •  J  • 


Beethoven:  Symphony. 

^Trf?  MT*-+ 


•*-=- 


etc. 


* 


I 


2=ri2 


9=+ 


•0     ^ 


-&- 


(*5      T      .  ^__| 

i     I      |        * 

^  0 

1  •— 

1  *  ^~ 

-^  »— 

^-9— 

1  —  « 

10 


Welsh  Song. 


^a: 


.•ft  t      ••: 


^ 


11 


12 


m 


53 


13 


fc&i 


-f-r 


14 


15 


H — j— j— H*a   p* 
t*=^-& 


i^f^t 


* 


* 
17 


18 


a: 
19 


•»•  * 


CHAPTER  VI. 


DOMINANT-NINTH.     SCALE-SIXTH,  LA.     SUBDOMINANT 
HARMONY.     TETRACHORDS. 

101.  Continuing  the  harmonic  series,  after  the  sixth  over- 
tone which  was  considered  in  the  previous  chapter,  the  intervals 
are  in  seconds,  the  root  and  octave  of  the  harmonic-generator 
following  the  seventh,  and  after  that,  another  large  second,  which 
is  a  ninth  above  the  generator.  Placed  in  scale  relation,  it  is  La, 
the  scale-6th: 


Ex.  65. 


102.  In  its  harmonic  relations,  the  ninth  of  the  Dominant  is 
more  likely  to  be  heard  in  the  upper  parts,  especially  in  the 
lower  registers.  The  distinguishing  characteristic  of  the  Domi- 
nant-ninth is  its  demand  for  resolution  on  the  root  before  the 
chord  as  a  whole  resolves,  an  effect  that  is  not  true  of  the  Domi- 
nant-seventh. The  demand  is  felt  very  emphatically  when  the 
ninth  falls  below  the  third,  as  at  b.  Sometimes  the  ninth  resolves 
with  the  chord,  as  at  c,  and  sometimes  it  ascends  to  the  third, 
as  at  d: 


Ex.  66.  a 


-&- 

103.   Play  and    mark    the    chords  in   the    following   before 
taking  them  from  dictation: 

Ex.  67. 

1  2 

i- 


J 


-LMU 


1 


104.  The  syllable  name  of  the  small  sixth  is  Le,  pronounced 
"Lay".     It  is  used  in  two  forms  of  the  ascending  minor  scales 
and  in  all  three  of  the  descending  forms. 

105.  There  are  also  two  sevenths  employed  in  the  minor 
scales,  large  and  small;  the  syllable  name  for  the  latter  being  Te. 
While  there  are  many  different  modes  of  scales,  only  the  major 
and  the  three  forms  of  the  minor  are  considered  in  this  work. 
The  study  of  other  modes  is  recommended  when  these  are  fully 
mastered. 

106.  With  the  sixth,  the  diatonic  scales  are  now  complete. 
With  the  natural  tendencies  of  the  scale  material  as  shown  in 
Ex.  21,  it  groups  itself  around  a  tone-center,  the  Tonic,  falling 
into  the  two  tetrachords  of  the  scale: 


Ex.  68. 


Observe  the  tendency  of  the  tetrachord  as  a  whole:  one  down 
and  the  other  up  to  the  tone-center. 

107.  Considering  the  scales  by  tetrachord  (i  to  4  and  5  to  8), 
one  sees  and  hears  that  the  two  tetrachords  of  a  major  scale  are 
identical. 

a.  The  small  third  of  the  minor  mode  makes  a  tetrachord 
that  is  distinctive  and  peculiar  to  that  one  location  in  scale  (i  to 
4),  so  it  may  be  given  the  distinctive  name  of  minor  tetrachord. 


56 

108.  The  small  6th  and  yth  of  the  original  form  of  the 
minor   scale   locates   the   small   2nd   between    5   and  6   of   the 
scale.     As  this  type  of  tetrachord  is  found  in  the  original  form 
only,  it  may  be  designated  as  the  original  tetrachord. 

109.  The  small  6th  and  large  yth  is  peculiar  to  the  har- 
monic form  of  the  minor  scale,  so  that  tetrachord  (5  to  8)  may 
be  designated  as  the  harmonic  tetracJwrd. 


x.  69. 

1 

y                                                        B"~ 

j—                                     '—?p  —  C&<  —  £Z  —                —  - 

-\ 

1  "                45                   8 
Major  Scale.                                       Original 

n 

z>    ^    °    ^ 

5                    8 
Minor. 

\ 

^         CS      U^-j      L 

—\ 

)—             —  h-  —  £2  —  <s>  *&  —  '•               —  <&  —  se- 

V&           V&                 .y 

—  | 

5                      8 
Harmonic  Minor.                             Melodic  Minor. 

1 10.  The  best  melodies  are  above  and  below  a  tone-center, 
rather  than  all  above,  and  one  will  find  it  advantageous  to 
practice  singing  that  way,  as  well  as  from  Tonic  to  Tonic  in 
another  octave. 


Ex.  70 


-» — 0- 


a.  Practice  beginning  on  different  degrees  of  the  scale: 


Ex.  71. 
1 


I  J   J   J-J 


fe«J   J   J   J 


57 


a: 


£.  Considering  the  following  as  i  to  4  or  5  to  8  of  scale, 
name  and  write  them  from  dictation: 

Ex.  72. 


in.  Keeping  the  Tonic  as  a  tone-center,  sing  both  above 
and  below,  alternating  the  various*  forms  of  the  upper  tetrachord, 
5  to  8: 

Ex.73. 
1 


r<s»-— 


J I J  i,J  J 


ii2.  What  is  the  interval  froni  the  Tonic  down  to  the  small 
sixth,  Le?  What  other  large  thirds  have  you  heard?  Name  them 
in  the  following: 

Ex.74. 

123 

=fc= 


-i — P- 


fe= 


58 


\                V9 

21        J 

I  J 

::    u* 

EE 

W     v°      \ 

I 

J  •  •  J 

es 

*                       L 

9 

r>                  i 

10 

j 

1 
11 

K 

f          l 

U.            ,^j 

1  i   I 

i 

.^-i                      i 

n 

L 

3*      £ 

- 

tt* 

El 

J  —  ..4—  i  m     - 

113.  What  is  the  interval  from  large  scale-3rd  up  to  large 
6th?  From  the  small  3rd  to  small  6th?  What  other  pure  fourths 
have  you  heard? 

Sing  and  resolve  them,  after  which  write  from  dictation: 


x.  75. 

1                        2 

ri             i                         i        . 

3 

i 

4 

f        i  i 

i   i 

i  , 

i  i 

Ee      1 

T    £65E 

~*-\ 

SE 

-J- 

d 

^S— 

E3iE 

5E 

i 

^ 

-W- 

114.  What  is  the  interval  from  scale-3rd  down  to  scale-6th? 
What  other  fifths  have  you  heard? 

What  is  the  interval  from  scale-4th  up  to  large  6th?     To 
small  6th? 

115.  Write  from  dictation,  indicating  key: 


x.  76. 
1 

9  

2 

3 

S  —  '  —  "~ 

M= 

• 

-jf  

~%& 

td 

n  —  r 

i 

• 

J 

9 

• 

* 

j 

i 

59 


1  h  ' 

n 

_ 

-7< 

r  — 

JE 

h 

•"ft 

I 

*- 

"T^ 

-*- 

-b^- 

IT 

S 

)    •  "r    « 
10 

p  —  ^ 

—  fc 

- 

2 

• 
LI 

12 

—  i— 

i 

—  i  —  j 

• 

—  » 

^             1 
1^.     II 

5-jJfc-l 

—  9 

— 

—  (j: 

^ 

-•  — 

«- 

— 

—  1— 

* 

-- 

4^=H 

/ 

13 

9  |-r 

H 

h- 

• 

14 

15 

T  —  '  —  n 

t  —  *  — 

_  m  —  — 

. 

^ 

2 

«-  

1  fj^ 

• 

• 

-«— 

. 

^—  »  «- 

-*  — 

-I  

—  — 

-  - 

» 

-"^  —  • 

16 

9  !—  i 

17 

1 

8 

—  h-  j- 

i 

i  *  J 

H 

» 

~~m  

-i  —  < 

— 
»- 

—  * 

't 

— 

b& 

} 

-*—  ' 

•a 

»  - 

1  ~t  — 

•  — 

:* 

19 


§E5 


20 


21 


22 


+±t 


23 


24 


^TZI 


ii  6.  What  is  the  interval  from  scale-4th  down  to  the  large 
6th?  The  small  6th?  Proceed  as  before,  and  in  finding  the  keys, 
remember  that  the  only  tones  of  repose  are  one  and  three  of  the 
scale.  Listen  for  those  tones  at  the  close.  Songs  occasionally 
close  with  the  fifth,  but  not  when  a  key  is  to  be  established. 


Ex.  77. 
1 


- 


=' 


,Q_i 


60 


^« 


-fir 


10 


11 


r 


12 


13 


117.   What  is  the  interval  from  scale- 2nd  up  to  the  small 
6th?     What  other  diminished  fifth  have  you  heard? 
Sing  and  resolve  these  as  indicated: 

Ex.78. 


± 


26 


47 


62 


1 1 8.   What  is  the  interval  from  the  large  yth  up  to  the  large 
6th?     Resolve  these  as  indicated: 


x.  79. 

w  —  i  — 

—  1  —  ^~ 

v 

r 

~f  —  r~ 

*  \~ 

i-f  —  i 

)       • 

5        7 

7        6 

• 
1 

7> 

1        2 

^—  1-1  H 

67           45 

119.  What  is  the  interval  from  large  yth  down  to  small  6th? 
As  this  is  found  only  in  the  harmonic  minor  scale.,  diatonically, 
it  may  always  be  recognized  as  such.     It  might  occur  by  means 
of  chromatic  alteration,  but  it  is  less  usual. 

1 20.  What  is  the  interval  from  the  large  scale-yth  up  to  the 
small  6th?     As  this  is  peculiar  to  this  one  place  in  a  minor  scale, 
it  is  easy  to  locate.     However,  with  chromatic  alteration  it  is 
frequently  used. 


61 

Thinking  or  recognizing  the  foregoing  examples  without 
first  knowing  the  key  is  excellent  practice,  and  very  practical  in 
connection  with  the  study  of  modern  music  where  the  tonality 
is  so  often  obscure. 

The  greatest  benefit  derived  is  that  of  hearing  and  feeling 
the  difference  in  the  nature  of  an  interval  which  arises  from  key 
relation.  As  an  interval  only,  there  is  no  difference  aside  from 
pitch,  but  in  its  key  relation,  also  harmonic  relation,  there  is  a 
vast  difference  in  the  nature  of  intervals.  Going  back  to  Ex.  76, 
observe  the  difference  in  the  feeling  or  nature  of  the  first  third 
in  No.  i  as  compared  with  that  of  No.  3  and  others  following. 

121.  The  tones  falling  at  the  extremes  of  the  tetrachord — i, 
4,  5  of  scale — are  called  the  "primary  tones"  of  a  scale,  and  the 
harmonies  of  which  they  are  root,  are  the  "primary  harmonies." 

As  the  trend  of  the  Subdominant  tetrachord  is  down  to  the 
tone-center,  so  is  the  trend  of  the  harmony  built  on  the  Subdominant. 

122.  Employing  scale-4th  as  chord-root  and  the  scale-6th 
as  chord-3rd,   one  hears  a  new  harmony,   the  SUBDOMINANT, 
resolving  down  to  Tonic.     What  scale  degree  is  the  chord-5th? 

a.  As  root,  the  scale-4th  is  free  in  its  resolution,  falling  a 
fourth  to  Tonic  or  moving  up  a  step  to  the  Dominant,  as  seen  in 
the  following  example. 

b.  We  now  have  three  harmonies  which  demand  the  Tonic 
harmony, — V,  vii  and  IV: 

Ex.80. 


«l 

1       1 

1 

1 

1      1 

I           I 

u   421          1 

I. 

^j          1 

^i 

^ 

IF 

gi 

^i     jA 

^j          j 

-<&—\ 

/?\  ft  ~1    °\ 

n>     J 

1 

f\ 

\     £ 

3       ^j 

F=fl 

** 

4?  — 

j 

i-           &1 

[v^*rf^    Lr3 

-~ 

I     r^j1          €^ 

2[ 

i^-i 

^ 

| 

-— 

—  '     4f                 L-, 

\     1                l 

^ 

| 

z 

[" 

1        ' 

r 

c.  As  vii°  is  identical  with  3-5-7  of  the  Dominant-seventh 
chord,  and  as  the  scale-5th  is  the  harmonic  generator  of  vn°  , 
one  hears  it  as  V7  without  the  root. 

d.  Built  on  the  small  scale-7th,  the  Subtonic  harmony  has  a 
quality  that  is  quite  distinct  from  the  Dominant-seventh. 

THE  CADENCE  IV-I,  is  CALLED  THE  "PLAGAL  CADENCE." 
123.   In  class,  all  sing  the  Tonic,  and  different  members  the 
various  degrees  of  IV  and  its  resolution,  as  at  Ex.  81: 

J    J    -        J    J 

t*    •  ||         j       f^    • 

Ex.  81. 


62 

a.  As  the  harmonic  form  of  the  minor  scale  is  generally 
used  in  chord  relations,  both  the  Tonic  and  Subdominant  har- 
monies are  in  the  minor  mode.  Play  the  following  chord  groups 
in  both  modes,  and  sing  and  name  both  the  scale  and  chord 
degrees  of  each  part,  as  in  the  first  lessons  with  the  Dominant 
harmony. 

Writing  from  dictation,  after  the  Roman  numerals  have 
been  recorded,  sometimes  write  the  outside  parts  on  the  staff, 
completing  the  chords  and  indicating  the  harmonic  degrees  at 
home;  sometimes  write  the  harmonic  degrees  of  the  outside  parts 
from  dictation,  and  express  it  all  by  staff  notation  at  home. 


r.82. 

12                                          3 

0     h      1                          •     '                                 '                                 ' 

I 

tZB 

<5 

Hxi    - 

_^v' 

ffl 

+-«'  e>  — 

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3  —  ^ 

—  *&  — 

£5       & 

NSi 

ga 


jja    I  fc=b 

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11 


12 


m 


m 


S 


Jl         n^rt*- 

•     -§ -!•—  -P— — 


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5^=i: 


r 


13 


14 


J"    ' 

•      " 

Zl 

J 

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i 

L 

• 

IS 

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m 

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™ 

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i 

3 

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1 

P 

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r  r  : 

^  s 

9- 

• 
rff—  r 

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f  . 

9 

rP  — 

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^^-=r 

HF; 

Ft 

-L  — 

9 

-P  — 

=t 

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I 

t= 

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1  

15 


16 


X                                     •              •              •              0              M 

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26 


m     0  p  J-    /?     p     ^  *  ^»  -  S     p     g)         0     g         p 


124.   Sing  these  in  both  modes  and  write  from  dictation: 


Ex.83. 
1 


Wtftt 


fft  ^    J 

r  

—  j  ^~ 

•'    .    •     J     ^ 

-Z5H5T- 

^~r 

-*  — 

-*  —  j 

—  j— 

^ 

IE 


-g     i 


Mendelssohn.      9 


10 


1! 


>  J  r  ic  j|J  ^ajibJ  jir^^^^ 


66 


12 


13 


14 


15 


^^ 


16 


17 


m 


18 

19 
U 

—  I  1     .    1     I      1  1  n 

vb  |>  J  —  i 

i 

t^= 

i-Gr-n*- 

± 

JL 

— 

£S 



--—  -i  • 

20 


22 


23 


:r^ 


-sfe-^- 


»-»• 


-Mg- 


24 


:  if 


25 


75- 


26 


j 


r  rr 


67 


27 


s£ 


28 


IE 


r  L'\>  r 


29 


30 


31 


32 


33 


34 


-j*  r 

3 


r 


36 


68 


39 


40 


^^= 


at 


41 


Mendelssohn. 


iSH^ 

^ 
» 

s 

r'~'*    •  ! 

rTcrs 

gr  s 

a 

li 

^: 

44 


1 


tr-  — *  J-.     J- 


69 


47 


-I—-* 


48 


49 


• 


m 


51 


52 


Beethoven:  Symphony. 


-* 1- 


•*-*-fu-i 


53 


8va. 


Beethoven:  Symphony. 


S  =*=  j 


=fi±i 


70 


54 


Chopin:  Op.  42. 


-r  r  r  r t^ 


r  r  r  if  f-"iJ  J  J 


55 


5 ^  , 

\p  A  f   f  *!    -F1^ 


56 


~~  J 

- 


• 


57 


yftf 

152  —  r\f  —  r 

75  —  • 

<?  "*• 

ir-*~ 

— 

—  p- 

i  jj 

3  

^-^ 

1     J  II     J 

—  s 

& 

- 

j_._^_< 

<y  • 

58 


Beethoven:  Symphony. 


u^ij  ,ijrrii 


59 


Old  English. 


.  'j  . 


»_i  i      iii 

r  jH-  J- J  j|j  j  j 


71 


60 


Mendelssohn. 


sziH  —  f  —  « 

E 

3  BE 

-^  —  rr 

61 


Polish  Air. 


ii 


J.3r  ' 


-*— «- 


-pg^=  nr  •/  lg.   i  its 

^•*  I       y   :j^3=j          g 


Tdt 


0JA  jt                            *ft___^                                                                   r<     , 

/  t*ii-" 

S          « 

r  •  p 

,     i 

an 

S     *•  * 

1    J  *  .  » 

f  •  2 

i*  •  • 

!   v. 

1   *        .f   . 

_  « 

»•  • 

S 

•* 

r  ^ 

.  .  r  _    m 

62 


De  Beriot. 


63 

dt 


Serbian  Folk-Tune. 


CHAPTER  VII. 
BYTONES. 

125.  In  this  work,  all  non-chordal  tones  are  termed  "By- 
tones."     A  tone  generated  by  the  harmonic  root  is  a  harmon^ 
tone;  any  other  is  a  by  tone,  and  always  dissonant.     Sevenths  and 
ninths  are  dissonant,  but  when  they  are  generated  by  the  har- 
monic root,  as  they  are  in  the  Dominant  harmony,  they  are  not 
considered    bytones.      So   it    follows    that    while   all   bytones  are 
dissonant,  all  dissonances  are  not  bytones. 

There  are  specific  names  for  the  different  kinds  of  bytones, 
but  theorists  disagree  upon  the  terminology  of  all  excepting 
Suspensions  and  Anticipations,  so  the  author  has  omitted  all 
names  excepting  these  two,  leaving  it  for  the  teacher  to  supply 
those  preferred.  A  detailed  discussion  of  the  various  bytones 
and  their  specific  names  appears  in  the  author's  text,  "Applied 
Harmony. ' ' 

126,  A  SUSPENSION  is  a  by  tone  that  occurred  as  a  harmony 
tone  in  tne  preceding  pulse.     The  rhythmic  necessity  of  changing 
the  harmony  on  the  accent  results  in  a  suspension  of  any  tone 
that  does  not  move  with  the  remainder  of  the  chord.     Ex.  84,  a: 


Ex.84. 


Y* 

X    | 

r 

s 

h 

d  i  J 

J     ! 

!  i  r 

X 

\j 

j 

I 

*    m 

*  /i 

1         1 

Jf              £_ 

•tf  • 

f?t\ 

"?n 

0 

a    j 

^  - 

^"1         A 

f? 

2 

r       r 

E 

p1        r 

s 

^ 

"   r 

1 

i 

\ 

1       [ 

f3        1* 

r 

1           f 

r 

"*^~  • 

rr  i 

/c>       ^ 

f 

/^\*        mf 

i"5> 

• 

2 

?         1 

! 

^        to 

L 

Efi 

i 

L^^*     I 

10*  • 

c~x     • 

L 

R 

7              0 

t^  * 

r 

r^ 

r 

1 

i 

i 

1 

1 

1 

a.  The  tone  that  becomes  a  suspension  is  called  the  '  'prepa- 
ration," and  it  is  not  considered  a  suspension  unless  the  suspension 
and  the  preparation  both  occiir  in  the  same  part. 

b.  The   suspension    may  resolve    up   or   down,  usually  the 
latter.     The  term  "ritardation"  is  sometimes  applied  to  the  up- 
ward resolution,  b. 

72 


73 

127.  When  one  or  more  of  the  parts  resolves  prematurely, 
the  effect  is  known  as  "Anticipation."  In  this  excerpt  F$  of  the 
anacrusis  anticipates  the  chord-3rd  of  the  next  measure;  and  G 
of  that  measure  anticipates  the  root  of  the  next  chord: 


Ex.  85. 


ftfa 


128.  As  wijl  be  seen  in  the  analysis,  by  tones  may  occur  in 
any  part,  and  in  two  or  more  parts  simultaneously.  They  are 
all  of  a  decorative  nature,  and  it  is  not  always  easy  to  hear  the 
harmonic  substructure. 

They  have  been  freely  employed  in  the  preceding  melodies, 
and  from  this  time  they  will  be  included  in  the  harmonies. 
They  should  be  marked  before  coming  to  class  and  may  be 
indicated  as  one  finds  convenient.  The  writer  places  a  little 
mark  through  the  note-head: 


Ex.86. 


129  One  must  acquire  the  ability  to  hear  harmonies  in 
phrases.  In  so  doing,  anticipate  the  natural  relations,  the  con- 
trasts that  are  likely  to  occur  on  rhythmic  accents,  and  con- 
trasting cadences.  In  selections  of  length,  and  sometimes  with  no 
more  than  four  measures,  there  will  be  repetition  or  imitation. 

The  repetition  of  a  phrase  is  not  always  exact,  especially 
when  leading  to  a  different  cadence.  The  rhythm  may  be  the 
same,  but  the  harmony  must  necessarily  be  different. 

Sometimes  there  is  melodic  and  rhythmic  imitation,  but 
harmonic  contrast. 


74 

130.  Before  taking  the  following  from  dictation,  mark  the 
phrases  with  the  punctuation  marks  of  literature,  indicate  the 
harmonies  and  their  inversions,  also  the  bytones: 


Ex.  87. 
1 

«        i      !      I      i            i            'I            1      i 

/  -, 

T  u 

J— 

3  —  J— 

-A  

—  J- 

^  ^ 

-J  —  I  1  1  — 

vP  —  *l  — 

"3  —  T~ 

_ff  

f,  — 

—  3= 

9    1  —A  

k  V 

/        • 

•    j 

^2 

^1 

• 

,0 

7^ 

J  —  *  k  + 

^ 

rg     T    i 

^^   JJ  • 

r  fa 

J»l 

-^  

•4—  

•F  

f— 

1  

T  —  r  f  — 

\  ± 

-3»— 

I 

F— 

I  '  

-1  U--^  \  

2 

A 

1 

-^ 

1 

3 

1 

_,  —  ^.u!- 
1                 i 

~~y       i 

-J 

n 

^              i 

X.      0( 

OJ 

Sa 

(&)  • 

°r*                   «  • 

CS 

x 

V 

L/          ^ 

j 

tf       , 

m.  m  r    m 

'^-\ 

J  . 

<sJ  .                   ^1  . 

/             ^ 

La  U 

i  n 

1     - 

J  JV  J   J71    1 

f^\*         ¥           ^—f. 

fy 

^2 

•    • 

^       ^             ^^    * 

IsTr  * 

*^>'          f? 

f5    • 

r?  • 

>                    ____w 

0         V 

S3 

rf^l 

it    ^          A 

V*  s           r                A 

^2 

3 

.* 

^^ 

•  r     ^          T  "^  T" 

J-    I      J   J             J-       1        l 

f? 

* 

^> 

22 

[522 

U 

^^•^     ^? 

D 

3 

r 

^y 

75 


J*  I  I    .       I         h        i    .  .       h  .  .       '       .  ft  .  P  I    .        1          .  . 

**  j  3  j  •  'ftjlmtrft  J 3  j  Sjy  3  I  *^.\  t  ^ 

i   *   »H  •  fi    «-IV  J   •  I  •   •  ^g-N   •   •  I  •  d-*-\f-   ^1  ^  - 


^4  J 

-- *fe 


^ 


inrf- 
r^^ 


i 


rcrrr  r 


^^ 


^ 


•-> 


76 


10 


11 


fW*9± 

es  • 

^H  "*• 

'^i  * 

^n  * 

V~^i  

-&ta%  

-—  -M- 

—  d  

p. 

-ah  

-J   * 

P1 

i 

r    i 

J-  I  J 

J 

r 

J. 

-j5>-. 

/m*\'      (^  * 

•   • 

52 

i*     «        P 

[*T-/»       ' 

s» 

* 

r  ^  «l 

'W'      fS  ' 

^  • 

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131.'  One  frequently  finds  the  Tonic  harmony  with  a  small 
seventh,  which  creates  a  demand  for  the  Subdominant  harmony. 
1&-X..  88,  «. 

The  construction  of  this  is  identical  with  the  Dominant- 
seventh,  but  as  it  is  not  built  on  the  Dominant  root,  it  may  be 
termed  a  chord  of  the  "first  species."  The  French  schools 
classify  the  various  forms  of  the  seventh  chords  by  species. 


Ex.  88. 
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132.  Employing  La,  scale-6th  as  chord-yth,  it  forms  what  is 
known  as  the  "third  species"  of  a  seventh  chord,  a,  Ex.  89. 
What  is  the  order  of  thirds  in  the  construction  of  this  chord? 

Ex.  89. 


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VII, 


VII7°0 


133.  In  the  minor  mode  of  the  key,  Z>,  the  small  6th  is  a 
diminished  seventh  above  the  root  of  the  Subtonic  chord,  b,  the 
only  place  in  a  key  where  the  diminished-seventh  chord  occurs 
diatonically . 

This  form  of  the  chord  is  indicated  by  the  second  degree 
mark.  With  one  degree  mark  (vu° ),  the  diminished  fifth  is 
indicated:  two  degree  marks  (vii°0)  indicates  the  diminished- 
seventh  also.  What  is  the  order  of  thirds  in  this  chord? 

134.  Because   the    Dominant   is   the    harmonic   generator, 
either  species  of  the  Subtonic  harmony  appeals  to  the  ear  as  a 
Dominant-ninth  without  the  root,  and  it  is  so  classified  by  some 
theorists. 


86 


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135-  For  self-help  in  this  two-part  work,  sing  one  part  and 
play  the  other. 

Ex.  91. 

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9m         m 

• 

V4^      f 

• 

,-^ 

\     r 

• 

PJ' 

1     r 

1   f                    '   CJ   '           ba=  t 

21 


j      J. 


22 

J      J 


J 


P 


CHAPTER  VIII. 

THE  SUPERTONIC  HARMONY.     MELODIES 
REQUIRING  ITS  USE. 

136.  THE  SUPERTONIC  HARMONY,  built  on  the  scale-second, 
is  very  similar  to  the  Subdominant,  and  sometimes  difficult  to 
distinguish,  especially  in  the  first  inversion. 

a.  What  scale  degree  does  it  include?  What  is  the  mode  of 
the  Supertonic  harmony  in  the  major  key?  In  the  minor  key? 


Ex.92, 


J 


J  i  j 

I 


£.  Although  the  individual  tones  of  the  Supertonic  chord 
demand  repose,  on  account  of  the  root  relations,  it  demands  the 
Dominant  harmony.  It  is  often  followed  by  I,  because  that  is 

5 

practically  a  progression  chord,  possessing  more  of  the  Dominant 
quality  than  of  the  Tonic,  especially  when  it  falls  where  the 
rhythm  demands  a  progression  harmony. 

The  distinguishing  characteristic  of  a  chord  is  what  it  demands, 
and  by  that  it  may  be  recognized,  aurally. 

137.  With  the  use  of  the  Supertonic  harmony  the  cadences 
may  be  extended  to  three,  four  and  five  chords: 


Ex.93. 
1 


fcJ: 


? 


88 


89 


4 

1 

| 

5 

, 

\ 

31 

0 
u_l_ 

I         1 

| 

{/ 

5. 

Z 

R 

HI 

Jf 

•     ' 

9 

M              3 
™ 

^ 

j 

J 

^ 

H 

^| 

fff\ 

III 

V-L/ 

* 

| 

^ 

• 

SJ 

'    W 

n^f- 

9- 

i 

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^  J 

/-^\» 

. 

•              | 

x 

7 

m 

*t       m       * 

^2 

1^J» 

-i  F 

- 

p 

-L 

X.-    — 

*  

-F  — 

Jpe.  . 

7 

n 

I 

I          I 

| 

8 

L 

, 

i 

J 

m 

I  P    < 

1 

/          i 

f 

m,      J 

9. 

b 

j 

a 

l!\ 

y 

- 

• 

• 

V-IJ         g 

•        I 

g      J 

0 

.   \ 

• 

•     • 

0      j 

m 
J      . 

i 

i     « 

1 

^i  F 

*       » 

—  f— 

M 

r 

-P  —  *r~ 

__^  . 

—  |i 

— 

-1  i  

^ 

V  

->  

1 

_ 

1 

1 

1        * 

i 

9 

A       U 

10 

1 

1 

i 

^  k 

j           i 

J 

J 

g|         i 

CS^         • 

3 

I 

3 

9. 

0 

Kf           [71 

i 

uj 

0  -       f 

kj          ^ 

Ll 

v         •                 • 

"1 

C 
J     ._ 

7* 

"•         -«- 
1            I 

faty  —  \)  —  * 

J  — 

—  

p^—  — 

-f  «— 

i  0  

S^ZH       L 

tf 

. 

[             ! 

138.  The  seventh  and  ninth  are  often  heard  in  the  Super- 
tonic  harmony,  especially  the  former.     What  scale  degrees  are 
they? 

139.  When  the  first  inversion  is  employed,  it  is  sometimes 
difficult  to  distinguish  between  that  and  the  Subdominant-added- 
sixth.     With  the  latter,  the  Tonic  is  present  in  the  chord.     As  a 
component  of  the  Supertonic,  the  Tonic  would  be  a  chord-yth, 
and  most  likely  to  progress  downward,  as  in  No.  2,  Ex.  94.     At 
No.  i,  the  Tonic  does  not  progress  or  resolve  as  a  seventh  usually 
does,  neither  does  the  harmony  resolve  as  the  Supertonic  usually 
does, — to  another  progression  chord,  so  this  would  be  considered 
the  Subdominant-added-sixth.    (IV+6.) 

140.  Because  the  nature  of  the  Tonic  is  what  it  is,  —  a  free 
tone,  occurring  as  the  seventh   of  the  Supertonic  harmony,  it 
is   sometimes   left   by  leap,  as  seen  in  Nos.   3   and  4,   Ex.  94. 
The  individual  character  of  the  Tonic  is  stronger  than  the  chord 
relation.     One  also  sees  the  same  freedom  with  the  scale-3rd  as 
seventh  of  the  Subdominant  harmony. 


90 

For  individual  work,  play  the  following  examples  and  name 
the  harmonies  from  sound  first,  then  verify  by  the  notation  and 
mark  them. 

When  taking  them  from  dictation,  proceed  as  in  the  pre- 
ceding lesson. 


Ex.  94. 
1 

Q 

2 

V  i 

1                I 

Jjtp 

| 

—  i 



—  J  

^—1— 

J>  J  ^d  

«~  —  IS         —  *  — 

.     f- 

'  ^-  "        3  '  

4                                                                                    » 

-«- 

&V          • 

p^ 

1 

B 

PJ-,        p 

2_ 

™ 

5Za                L 

22 

• 

r 

1 
3                Mendelssohn. 

cfefcf—  1—  «H 

4 

Mendelssohn. 

n 

f^—  p—  p- 

1                    1 

=4te 

7 
...  — 

X 

D  

u. 

—  * 

•- 

-f- 

t 

;  ':   • 

ft*V  b 

1 

jntt       J  1  

^^U1*7  —  f  — 

J  ^  1 

:_ 

-•  

r 

^ 

fl 

2 

5 

xs     11                                 1 

*- 
1 

6 

! 

1 

\ 

9 

g 

\ 

J*       ff            W 

1 

rj 

t—  x^" 

« 

i     , 

irv\  ff 

, 

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2 

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d 

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12 


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MJ        ^      ^«^g. 


fi 


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A      H  i 

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1 

i 

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14 


Schumann:  Op.  68. 


:(i  f 


-t 


i 1 — i 


92 


15 


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Schumann:  Op.  68. 


Eas 


:g==^^r-    =5— 

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ttzggg^— ^ 


1 


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93 


12 


Schumann:  Op.  68. 


i  i  .n  n 

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20 

0  5  a  i     *    P     f    p  mt 

W                                             .A                                9                         9  W  ^ 

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fi>  ttliy    i_|t_Jf    (J...,, 

—  "-•  —  ^  —  £-j  —  LJ  —  ^__i  —  =  —  L  —  -^ 

£. 

'(*")**     i                   ^           1* 

r    i*    •        •   i*    i      i           il  I 

g^-^l'y      p-1 

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1C                          J 

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21 

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Melody  from  Reinecke. 

i                                                1 

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"  -H         2 

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•       J                          A                  S2H3 

r\vyj     i     ^     i 

•        •                                 «        ^                   *                       E 

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99                          9 

•     •     «L   *      «•••      ,G  . 

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^^  -^                                 — 

\"~*\ 

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iLLc                   ^                             x" 

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fc\'     H                             P        ^ 

r      p                 *      M                           <3 

[f  •,  17 

v   . 

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94 


22 


Melody  from  Reinecke. 


/L  b 

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—  - 

feK    J 

•  

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33 

j 

0                     0                  0 

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f         *    *    •*    ^                       1 
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24 


Finnish  Folk  Song. 


Air  iu   >    j 

>     J    J  

=E3E^ 

i=«N 

—  j  a  

^  —  ^-^  —  P  —  *— 

«i  r*'^  J 

r  f^~?  — 

rr 

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r      ^ 

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1       ' 

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95 


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T<5  

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25 

Ji 


Finnish  Folk  Song. 


JJ-j-jJU^ 


zta 


a 


26 


Norwegian  Air. 


r  «  r 


96 


27 

0  ^_      ._v-h  J  4-.-J  ,  -1 

Haydn:  Creation. 

J       1       -         J    J    J     J-        ' 

1^1  «  Jl  9  —             j  —  ^~ 

•  — 

ff\\  *^   \.  j      •      ^^  •  * 

J                J/31 

o*       '         ^    w 

\>]J           *       \    m 

->  •  »     ^         •p' 

f2    •                p  W      {3              fs 

^^         r^J 

J            |-    J.                    ,              , 
|          m—-^-s-m—m&       •  T- 

i     i  r   r    i  i 

-^   -J    j     -••?   m   P   -<*•   " 

^-*--^  b—  h 

-?  .  —  ^—  -L  L  r 

^>\jl.  j        U  •  !• 

f  F-k 

i^=k>- 

P? 

'l  II    '          1      '      1 
n    K    1       1       1               1 

B  —  '  "  i  r  r 
i  i  i 

I 

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j 

'd        !     I 

i    XL  b             *       •               id 

2       «      BULK 

(a  .     3 

J      31 

i  VV.LJ      p*           •     -       tzzitztjas 

p       &>  •     m       &  •    m 

<sy  •    • 

)  -    r              ^  •  r   l 

)     J  ^  J  J  „.  J  J 

•      &  •    t        a  •    -. 

m       &  •     \         K>  • 

•      A 

l^y*l    P     ^^                                                            1                                     '^ 

P      K  •    L      i 

9 

\      \^H  ^  rt                                                                    Li^   • 

r        r 

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r 

1                        1 

1 

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•     _i               i               i 

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a 

V  fct)                 J 

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1  ^  f2^  «-Lp=  F--p-  

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J                 J.        J    J.      J 

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f(\V 

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2               2       '      ^    '    •  * 

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a>  •      •    ^>  • 

•    *    •    m    m    &      ^ 

1^  * 

»    §  "f~  ,  ,    ^  •     -    <y  • 

m          ftp    f-  f-  -j2-     fS 

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I 

r  §  "r       L  k>    v 

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p    L         P    ii 

szfei 

!•                Pi 

K?    * 

141.  Whether  one  is  conscious  of  it  or  not,  the  fact  remains 
that  they  who  have  the  strongest  feeling  for  harmony  experience 
the  greatest  degree  of  success  in  ear  training.  The  systems  of 
harmony  based  on  mechanical  principles  are  of  no  musical  value 
whatever,  but  when  the  student  hears  and  feels  what  is  written, 
also  the  harmonic  substructure  of  a  melody,  he  has  a  true  basis 
for  musical  development. 


97 

a.  If  one  is  sufficiently  advanced  to  do  so,  the  author  re- 
commends playing  a  simple  chord  accompaniment  with  the  sight- 
singing.    If  the  teacher  can  play  a  good  accompaniment  that  does 
not  include  the  melody,  it  should  be  done  for  the  less  experienced 
student.     This  "if"  is  said  advisedly,  because  there  are  few  who 
can  improvise  even  a  simple  accompaniment,  well. 

b.  Only  a  very  few  of  the  melodies  following  the  harmony 
work    require  more    harmonies  than  those  that  have  been  pre- 
viously given.     This  classification  of   the   melodies  is  valuable 
only  to  those  who  can  hear  and  feel  the  harmonic  regulation. 

c.  Because  so  much  depends  upon  the  feeling  for  the  har- 
monic regulation  of  a  melody,  much  emphasis  should  be  placed 
upon  the  harmony  work. 

142.  In  taking  the  following  melodies  from  dictation,  after 
naming  the  phrases,  A,  B,  etc.,  state  those  in  which  the  Super- 
tonic  quality  is  heard: 


F^1 


5 


J IJ.  IJ  »IJ 


f-f 


98 


If-  gjtj  r  fcu=j 


J. 


Couperin. 


Polish  Air. 


±ft 


.u   I         I 

^=s 


•-T—r 


Polish  Air. 


A.        \        m 

r  • 

i      i 

E- 

i*      S- 

1      P 

in\ 

1 

9 

J 

9     h 

« 

• 

Folk  Song. 


•  ".J.  - 


I /^ 

%E^±B 

^    ^   r^0 


99 


Folk  Song. 


r^ 

•  •  *  0     '       m  ff 


|_    I 


10 


von  Flotow. 


i        i  m  m  ..  *  i ,    h    ^i  rq  j 

E^  3EZ3E±M-3CZ~  -  ^^J  i  J-  -      .  »• 


von  Flotow. 


100 


13 


von  Flotow. 


"  1  *  1 


A   k     fl 

i  ) 

P 

; 

"K  K  LT~ 

—  ij  —  - 

l^f 

1     P 

3J  U    1 

,'*••  g  ^  • 

-=—  }  1^  

1  ^T"  " 

I 


-^ 


143.   Some  good  training  in  proportion  may  be  acquired  by 
completing  the  following  melodies. 

Ex.96. 
1 


— — 0- 


•+-T 


5$ 


*=| 


101 


:3- 


—0- 


V 


Ex.97. 
1 


144.  Two-part  work  including  the  Supertonic  harmony: 
2  3  .  4  . 


-iU 


U 

7 


^-r-Fg     '^    i 


^      fg «  nML—  0     .  .    »          i 

T TT i  * 


10 


11 


*-H — F-T- 


r^T 


12 


13 


, 


-;- 


^^^ 


1 1     ^ 


14 


15 


-<#—<$»- 


rrrT  r'r- 


102 


16 


17 


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CHAPTER  IX. 


THE  SUBMEDIANT  HARMONY. 

145.  What    is   the    mode    of   the  chord  built  on  the  sixth 
degree  of  the  major  scale?     On  the    small    sixth  of  the  minor 
scales? 

146.  The  Submediant  harmony  demands  the  Supertonic,  but 
progresses  to  the  Subdominant  equally  well. 

In  contrast  to   the    preceding    harmonies,   the    Submediant 
leads  from  cadence;  in  other  words,  it  delays  the  close: 


Ex.98.    3^ 

o 


-raj or 


147.  The  three  major  harmonies  of  a  major  key  are  termed 
the  primary  chords  of  a  key.     The  three  minor  harmonies  of  a 
major  key  are  often  termed  the  " substitutional  harmonies,"  being 
used  in  the  place  of  the  primary  harmonies  when  the  harmonic 
relations   would   naturally   demand    the   latter.     As    such,    the 
Supertonic  is  a  substitute  for  the  Subdominant,  and  the  Sub- 
mediant  is  a  substitute  for  the  Tonic.     For  example,  the  Dom- 
inant demands  the  Tonic.     If  a  full  cadence  is  undesirable,  the 
Submediant  is  employed  instead  of  the  Tonic,  which  delays  the 
cadence,  as  seen  in  the  foregoing  Example. 

148.  There  are  so  many  good  hymns  in  which  this  harmony 
may  be  found,  the  author  considered  it  unnecessary  to  include 
more  excerpts  for  analysis. 

The  teacher  will  find  it  profitable  to  play  as  the  students 
dictate,  their  choice  being  what  is  naturally  demanded  by  the 
chord  relations.  For  example,  No.  i.  After  V,  the  second 
chord,  the  Tonic  will  be  expected.  When  vi  is  played,  the 
fact  that  V  did  not  resolve  will  make  it  easy  to  recognize  vi,  the 
substitute  for  I: 


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CHAPTER  X. 
THE  MEDIANT  HARMONY. 

149.  What  is  the  mode  of  the  chord  built  on  the  third  de- 
gree of  the  major  scale?     Of  the  harmonic  minor  scale? 

150.  The  Mediant  harmony  demands  the  Submediant,  but  in 
the  minor  mode  the  demand  is  less  strong  than  that  of  the  other 
harmonies  that  have  been  considered  in  the  preceding  lessons. 

The  Mediant  harmony  progresses  smoothly  to  both  the 
Supertonic  and  the  Subdominant.  Employed  near  a  cadence, 
one  is  more  likely  to  hear  the  latter  than  the  Submediant. 

151.  The  Mediant  harmony  may  be  followed  by  the  Dom- 
inant, and  when  employed  as  a  substitute  for  the  latter,  it  may 
be  followed  by  the  Tonic. 

When  the  Mediant  is  employed  as  a  substitute  for  the  Dom- 
inant, it  is  usually  (but  not  always)  expressed  in  the  major  -mode, 
and  preceded  by  the  Supertonic,  as  a  Dominant  might  be: 

Ex.  100. 


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152.   When    the   bright   effect    of   a  Dominant   harmony 
undesirable,  the  minor  Mediant  is  a  very  effective  substitute: 


is 


Ex.  101. 

n    K 

Dupont:  Poems  of  Autumn. 

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153-  Very  frequently  one  hears  a  passage  of  primary  har- 
monies followed  by  a  similar  melodic  pattern  harmonized  with 
the  substitutional  harmonies, — 11,  vi,  in: 


Melody  by  Reinecke. 


IV        V 


VI  II  III 


154.  In  taking  the  dictation,  listen  for  the  connection  of  vi 
and  in,  the  two  substitutes  having  the  same  relation  as  I  and  V. 


Ex.  103. 
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(^                    1* 

16 


iM^FJ 


^s 


•-. 


g>         ^g^?^ 
'    I  T-Th- 


-<5>- 


- 


116 


i 


& 


-*r* 


& 


i-H    4  J.  • 

*±± 


-it  V-  c? 


j^- 


U^A- 


PE 


•  /•?  • (g,  • C. 

j^r±p=        If       If 


^  J  1  1  J         ,        J  .    1   1 

f  ~     m      1      •      0 

r       « 

i 

1  

L  H— 

\^,  y              j^^                       ^5 

-^  F  d— 

-^^«  — 

-^  

-    r     j                   ii         $* 

M         «                     <=>                       ^-*--*-^<5                       -*-J«. 

s> 
J      J 

(W*ft    p           1 

*      J 

r*          £e 

f2 

• 

1         d 

j 

•  *  "\                          fl 

V^,y                ™              ™              ^^ 

/^         &/ 

•                   r^ 

2         ^^^ 

"            '                                             " 

lints. 

pvS  —  ^t  /  

T5  8*  

•2 

*^  S  '  '           1       "*~^  '                  L*--> 

Ti 

{? 

E 

1                 Tl 

^-p 

1                               i 
19 

1  1  1  t~~T  ' 

-^/  gl  •(  — 



fn\                              j               1 

l                 i        • 

\S*l/           ^-                               W 

1 

1        J        n        « 

& 

£r                                            <^          _^         ^ 

7-r  y,  ^  •  1  ^  =^  •  

J_                •                ^_                                     ^y                 
1 

I'  —  ^^J  «  -p-—  f  —  ^  ^  ' 

6&—£  *  —  P- 

-r  —  a  —  i 

•  —  i  —  t- 

—  1  

117 


£  —  5 

3'  — 

—  J  —  #4- 

¥ 

k^  

v~K            4 

i          1*^ 

P.        m 

-'            T       -• 

1             -Jj  'i  r  '   r 

a  •  -p-  •               •*--*-  j 

S3-        i*        i 

p  • 

E         U 

P2 

^                  &** 

pj.                9 

L      P 

r      P 

P 

52       • 

P 

r    r 

^, 

I'D 


»    h      i       J        J^J        1        1        K^  1        i                                              i 

7,7                       • 

^      ^ 

1                i         ! 

>     h    U  J 

™      ^ 

•       J 

J 

pA  v  v  9-f         (2 

/*o             i 

•       •       ^ 

^J 

v^  /           ^ 

•^ 

5r              »       N» 

^   J     J 

rr    rryTT 

j    j,^    -*-fef-jfe«-j 

/A^'      K 

0  p 

(^                                     W- 

i      H""      ;             i 

[£J.t  2z~s        ,-n 

^              r 

'1 

s« 

1                       ^ 

Db       I       J             ^ 

^       J                  1 

1  ,  P 

> 

'   h    L    J        m      Yi^t 

™              jf 

•        m        m 

S 

y  v  *  —  t—  %  

(^  2  ITZ  

r  \  \ 

1  i  A 

^  r 

4  i5 

^    ^ 

^ 

^-b—  *  —  -m  —  &  

H 

H  (  

'-*'           o 

^ 

sh   H  \ 

J  'i  

m  — 

21 


1  • 

-4  —  *  —  i  —  2- 

—  i  —  « 

—  i  —  ^  — 

2S           c* 

—3  —  J—  ^  j.  ^  g.  Lt.—  • 

—  d  —  ^^  s^- 

1    i    ! 

I'A^HT        ^2    *                                   A 

Ei 

p 

m     J     *     • 

V  J'  *Tf         '                                                     ' 

^  •                • 

r 

w 

C-m    i                      i 

i-                    r 

P 

>r  '     j      •      -• 

J                   « 

\       \      ~      1 

^"         ~i 

IfvV                            *i 

J        *        « 

• 

DJj                      —  . 

VsJ                           l 

•  . 

^          ^          ^-, 

j                      5P 

^*             ••.g.-j.^.j.^.                           ^          i> 

^                    1      -*-      *r> 

(^\**&           ^f  •                                                     m 

^5 

^ 

«               iS? 

It*  *^f           I 

^5     '                                                    A 

?? 

—  X                 I 

,.  ,  zz 

m 

118 

These  melodies  do  not  all  require  the  Submediant  or  Med- 
iant harmony  in  the  harmonization,  but  they  are  placed  here 
because  the  rhythms  and  melodic  line  are  more  difficult  than 
those  of  the  preceding  lessons: 


Flotow:  Overture. 


lEi 


-z± 


^ 


j  j 


^ 


^ 


a 


i 


Donizetti:  L/ucrezia  Borgia. 


s 


^ 


— t 


^ 


-• —     •  '  ^  j 


Gounod:  Faust. 


g^g 


119 

L/alo:  Violin  Air. 


?  I  •  tt/s    I  ^    g    I •    J        I    Mil  tt   •  ?  1 1      ?    » 


ctf*=^^-a 


De  Beriot. 


g 


4-* 


.     • 


ett 


0  •  0 


120 


Mendelssohn:  Organ  Sonata. 


K  !       P 


_       _ 


I  I 


Gounod:  Faust. 


Q  &M  ^  •—  -KI  ^  "f"*  »  i  ^  —  1~    hi 

•0-    -f^ 

y  ffjt  f  ^  f— 

f           !- 

r^- 

•  — 

T5~ 

r  -  r 

-*  —  r*— 

-I  1  — 

in\  f     «^ 

* 

~ 

r 

s 

^£& 


^^ 


r»frfj  I1  •'•^ 


fe3 


0  f  "r.!     * 
r  F  i  il  -5 


10 


121 

Scarlatti:  Toccata. 


^s 


i3E* 


Scarlatti:  Minuetto. 


£ 


a 


Scarlatti:  Gigue. 


it 


*- 


13 


^ 
Mozart:  Sonata  in 


CL    * tz — D 


122 


Scarlatti:  Bouree. 


n 

^^^^^^«—  .       


17 


Donizetti:  I/ucrezia  Borgia. 


Q  ,\>    «.,  f'/    |       : 

foP  >  [^    ^.     r       r 


18 


123 
Bellini:  La  Sonnambula. 


19 


Bellini:  L/a  Sonnambula. 


»  •       -^    •    T"^*  , 


— 43- 


Bellini:  l&  Sonnambula. 


Scarlatti:  Siciliano. 


r  fr  . 


22 


Scarlatti:  Courante. 


t 


3: 


d: 


23 


Scarlatti:  Bouree. 


Old  Austrian  Air. 


25 


Traditional. 


'    'J^MF—JL^ 


^ 


r-i»  i  ^=* 

u*  in 


-3-0- 


±* 


r^ 


27 


Styrian  Song. 


ift        ^ 

p,.      r*1    r*  '»                   r*«           P**    , 

/  f*T 

•f^ 

^ 

r  *  * 

i 

^3= 

j  ^   •  , 

i  —  •  j  1  — 

BE±  —  •-: 

. 


Styrian  Song. 


Ik  J  r;  J 


r  Mi-rf 


^^ 


29 


Tyrolese  Air. 


f      J 

'  LJ  I    •  y  • 


A^r^ 

* '  f  La  J 


•      ^ 


CHAPTER  XI. 
CHROMATIC  MATERIAL. 

155.  Every  tone  within  the  octave  belongs  to  the  key,  but 
only  certain  ones  to  a  given  scale.     Inasmuch  as  it  is  all  key 
material,  the  writer  suggests  that  each  tone  be  given  a  definite 
name  in  preference  to  the  oft-used  term,  "lowered"  or  "raised" 
this  or  that.    Consider  each  tone  as  an  independent  factor  of  key, 
employed  for  certain  definite,  desired  effects.     With  the  possible 
pitches  for  each  degree  of  the  staff,  various  modes  of  a  chord  are 
heard.     For  example,  in  the  key  of  C,  the  following  modes  of 
the  Subdominant  harmony  are  frequently  found. 

Ex.  105. 

IV       iv 

That  which  does  not  belong  to  the  scale  in  which  a  com- 
position is  written  may  be  considered  as  chromatic  material  of 
the  key,  in  distinction  to  the  diatonic  material  of  the  scale. 

156.  Chromatic  material  is  employed  for  the  embellishment 
of  harmonies;  to  create  melodic  direction  of  a  part;  to  create  a 
demand   for   other  than  the   logical  harmony,  and  to  create  a 
certain  character  or  color  for  the  harmonies. 

Tones  chromatically  sharped  are  up-leaders;  flats,  down-leaders. 
This  direction  has  nothing  to  do  with  flats  or  sharps  that  happen 
to  be  diatonic  degrees,  but  only  those  that  are  foreign  to  the 
scale. 

157.  Ex.  106  shows  the  Dominant  harmony  with  the  aug- 
mented root  demanding  the  Submediant  instead  of  the  Tonic; 
the   Tonic   harmony  with  the  augmented    root   demanding  the 
Supertonic;  also   the   Tonic   with   a   small   seventh,   the   latter 
creating  a  demand  for  the  Subdominant  harmony: 


Ex.  106. 


-t— £ 


158.  One  of  the  most  commonly  used  chromatic  tones  is  the 
augmented  scale-4th.  The  pure  4th  is  a  down-leader.  To  create 
a  demand  for  resolution  in  the  other  direction,  the  augmented 
4th  is  employed,  and  incidentally,  the  quality  of  the  chord  in 
which  it  occurs  is  brightened. 

126 


Wagner:  Siegfried. 


127 


4    B 

«  •  •• 

„ 

^ 

\>\}         r 

I        *      3 

s          * 

** 

2_ 

^ 
0 

f 

*- 

i 

r  c 

•=3-, 

r 

fpj***  —  1  

—  r  —  P  — 

k^>/n       i 

f  i 

•        *  — 

Ex.  107. 


r 

159.  Chromatic  material  may  be  associated  with  a  mod- 
ulation, but  if  it  finally  becomes  a  member  of  the  new  scale  and 
key,  it  is  no  longer  chromatic,  but  diatonic  in  the  new  key. 

A  complete  modulation  is  not  effected  unless  there  is  a  well- 
defined  cadence  in  the  new  key  which  establishes  a  new  tone-center. 

a.  At  Ex.  108,  the  D  chord  is  followed  by  V?-I  of  the 
original  key,  C,  so  there  is  no  change  of  key  and  Fj  is  a  chro- 
matic tone  in  the  Supertonic  harmony.  At  b  of  the  same 
example,  the  D  chord  is  followed  by  a  well-defined  cadence  in 
the  key  of  G,  and  the  D  chord  is  heard  as  the  Dominant  of  that 
key: 


Ex.  108. 

A 

a 

b 

;                1                               1                            I 

v 

j 

j 

,         n 

_x_       i 

• 

_  i 

2 

Z3 

*          f 

f         J 

rS      -       t 

-.1     *r* 

«          1 

i.1         2 

rf~lil 

-xa  — 

111      V;  LJ 

^.  So  it  follows  that  in  the  use  of  chromatic  material,  one 
may  hear  a  modulation,  but  not  necessarily  so.  Key  is  the  result 
of  relationship,  and  no  single  chord  can  establish  it  excepting  the 
second  inversion  of  a  triad  which  falls  on  the  strong  accent  of  a 
measure,  said  triad  asserting  itself  as  a  new  Tonic. 

1 60.  A  chromatic  tone  may  occur  as  a  by  tone,  as  root,  third, 
fifth  of  a  triad,  and  sometimes  as  seventh  or  ninth. 

161.  Chromatic  chords  may  be  employed  consecutively  with- 
out obscuring  the  tonality  if  the  chromatic  tones  are  borrowed 
from  both  the  flatter  and  sharper  sides  of  a  key: 


Schumann. 


Ex.  109. 


128 

i62.  In  listening  and  thinking,  keep  the  Tonic  in  mind,  and 
if  there  is  no  change  of  tone-center,  consider  the  chromatic 
material  as  such,  and  name  the  harmonies  according  to  the 
altered  modes.  The  following  examples  include  some  of  the 
chromatic  material  of  key  employed  as  mentioned  in  the  fore- 
going paragraphs; 


Ex.110. 

1 

i 

\ 

i    i       ill        i 

J 

\ 

j 

/•d  i 

sz                               J 

^T 

^ 

**.  

a      BtlZ?±iBt3      sj      ^,      ci 

n\   j-2 

^s 

r^j 

^ 

's 

s  

V1'ij'           y^" 

foi      f 

*f 

-^ 

™  _^ 

^•* 

r 

\  \ 

^    _i"*"       ^n   ^  j^*       ^^        i^rTA  ^^  P    "^ 

%x               ^ 

' 

'    ' 

ix 

f*- 

\    \  | 

ft^jg-  .  b».  #  T&  r-t- 

fi£s— 

-^  

~  — 

ps 

^ 

- 

f$0 

T^  — 

—  *       i   r  f«P  —  r 

^^•^          fi"" 

E 

1                      ^ 

'                i? 

2 

\ 

| 

J   J    -    1     ' 

/         J 

'S 

^~ 

"Z>         -        <5     &         J 

i    ^<L 

^ 

-^ 

£4 

1        r/T\           —  i 

**_ 

5? 

^* 

^ 

•^ 

& 

F'*m     *&        &            S        ^             X 

V       'vl'             /^ 

i^^Tf 

1    4 

1 

^ 

^~ 

8P|     ^     &   &   P    & 

r  f 

L. 

f 

i> 

7  ' 

^ 

•   /^^t* 

' 

I  v 

^ 

*3   • 

» 

-^ 

~J                      ••*•    ^               ^     ^ 

t  ^y* 

^j 

r 

_^- 

i2      ^    rrtr 

1     5^^      C^ 

2 

-             i                         1  2S 

v 

II 

i                ^ 

3 

fi 

J 

\ 

M 

I                                  . 

. 

89 

^x 

—  J 

z 

f* 

—  i  - 

• 

1 

•^ 

s 

i 

| 

r 

•! 

-*- 

(S'' 

' 

t 
\ 

T 

<2>                                     •                      J 
J       J       *         J        J       ^         J 

25i 

OP 

(& 

9       *       *        9       9       9       &          m 

L^y* 

*                                                  m 

1^  -X 

9 

1 

* 

m                           m       *                               5 

^2 

m                                  m  .      V 

A 

1 

\ 

i 

r 

J 

| 

X 

\ 

frv     tf 

tf 

^s 

, 

ill'               }    i 

S3  1     • 

^^ 

9      ! 

g; 

' 

-^ 

1L               J          f         *  *             _, 

^       -0 

f 

r 

>- 

,' 

>- 

\ 

i  ?V-  i   *   -f-  -r    ^: 

l^   !J    J    j    J     ^ 

>W\«         f 

2^ 

2J 

w 

— 
™ 

'                J        m        m        J           '  J 

L^y*    ^ 

f 

^~ 

S^Z     i 

-^ 

s^s 

r  r 


129 


, 

1 


^u 


»: 


•      j 


r  r  rrr  r 


54 


)'.     »     P     (•     f    -f— « — a 

^  r  r  r    ir  p 


r T 


to 


Wesley. 
!      !      I 


i-i*  i  i 


j=i=^-vj-^^-ir^ 

i  A  '.fr-*-«    3  '  g  •    d  *•• 


^ 


riJJffirrrff 


5i 


/    5  b   ^ 

— 

•— 

1 

1 

-^  •  —  f-  — 

f?)  —  ^  —  ^  

— 

5~f~ 

J  

i~"tf=!    3  ^_ 

"^  *~1*  — 

9-f- 

f  ^ 

• 
?_k 

^>            * 

r-^    ' 

•    *  •  ' 
»    P  P  •  J 

J      1   f" 

/^^*    u 

j 

:» 

L     C     P     i 

2      p          1 

pj».  v 

1 

12 

P    r     i 

r   , 

l^^^xw  I 

^ 

I 

•                        ' 

'       V 

«       r^ 

•     P 

F-              1 

(^ 

' 

i      ' 

1 

r 

1 

I 

1 

,  /ryrtrr~»~i 


g=t^-  •     >  I  i    I     i 


*^tnr 


IS 


-J i—  0—  9 

•r-,-} 


130 


31 


m 


:z?~  2 


r 


rr-T 
j-j- 


r 

i-i-^ 


rf 


Arr.  from  Mendelssohn. 


Abb    ^    j 

i  —  h- 

^ 

( 

1 

<.  i  ; 

y^  j  ! 

g.  J;- 

—  ^p- 

-" 

^  j— 

f-  P 

1     »  •    • 

U 
r  f-  : 

I 

«m 

j 

1 

/^\'     U   i 

r      \ 

1 

'       # 

IK! 

[£J-,  P  U  I        1 

m  •      L 

r5 

*^b  k^,          I 

'     P      P 

• 

^* 


njj  u.j  H  i4-ij-Aji 

^=^ — «^—  y  *  »  +    I     ^— pi — S  J  J> 


*  *    *- 


^3 


^1 


-e- 


^ 


Chopin:  Op.  15,  No.  3. 


^^^F^f 


131 


EF=S 


?; 


Ifarjr 


p^  ^ 


H- 


wT 


132 


11 


Chopin:  Mazurka. 


H  .  i  H  i*h'  r   i  r]*>ij»  ^  i  b»  p  rTrfrripV 

-frg-H— -J-g-n  i  .  =2=»— P£-h— ^  in i    i  " 


p 


I 


^£ 


i 


5 


TbV  JJJJ  V" 

^  1          K 

i 

—  a-j-E  i^Pl- 

8 

a 

^ 

i 

f  *  *       |52 

~j 

V^  y 

L    i     *    4 

^      - 

_J 

ft 

J 

i 

r 

Jj  f 

| 

-f 

S£    k  1                    F          F 

F 

r 

PJ-,  Oh* 

!               8 

r 

•        F 

I 

Ji 

Wbkp.. 

1 

V  i  ^  b 

FS        \      r    " 

-  n 

X  b  K 

j,*^. 

1  J  |  » 

•  •  i 

« 

azai±3 

h^    f 

ten    " 

•  •  •       b« 

H 

™ 

j 

VL'              ^«/ 

^r*" 

^2 

M 

•   ^ 

'(]  l    2 

^  ^r 

5 

-6 

I       | 

"        "  {}•     ' 
A               J 

fe):  bu 

m 

^  h^^ 

p 

^  • 

*»-^b  U"  r         TV.  ,- 

-l 

^^~ 

163.  The   augmented    scale-4th   and    2nd    are  often  found 
embellishing  the  Tonic  harmony: 


Ex.  111. 

1 

von  Weber. 

A 

1 

II. 

V  i    O 

1 

a        J 

I                          1 

X^{?^  — 

d  

-1  — 

9       d  - 

^  1  —  J— 

rd  z^  — 

i  —  • 

^5*  §*  

r^^        y  —  1— 

—  g  — 

-»  ^  —  ! 

-?-     ^      -P-    -&- 

^          -jS>-                   -&--<?--{*- 

(W*   2 

L*^                  L^n 

^'b  O 

4=  —  F— 

~i  —  F  

2?  

1±_ 

133 


= 


XL  b       i 

^      •     « 

! 

rfi\y  if^ 

1 

^ 

&•      ,    ,            * 

•       J 

1 

HZ     ^ 

] 

^ 

^      bid    ' 

23 

^ 

2 

f^\m            i-^~ 

r^ 

1^-            ^^-        I  ^!> 

^ 

IF 

B' 

P?J',      p* 

y 

£        >•> 

w'h 

S3 

/^7 

fT5 

^ 

Chopin:  Ballade. 


.^iiStf- .Vf^b 

« — -     >  .- ^ ^ —          i    U_Cj 


^ 


a^^i 


>       ^ 


164.  The  augmented  scale-6th  and  ist  embellish  or  lead  to 
the  Dominant  in  the  same  way: 


134 


Ex.  112. 


Beethoven:  Op.  18. 


1=5= 


165.  The  employment  of  chords  on  the  small  6th  and  yth  of 
the  major  key  is  very  interesting: 

Ex.  113. 


166.  One  sometimes  hears  the  substitutional  harmonies  in 
the  modes  of  the  minor  keys: 

Ex.  114. 
fcfed 


S3* 


S 


J     ^I^^UJ 


With  the   wealth  of   material    available,  it   is   needless   to 
include  more  here. 


CHAPTER  XII. 


AUGMENTED-SIXTH   CHORD.      NEAPOUTAN-SlXTH. 

167.  Another  type  of  triad  is  formed  of  a  diminished  third 
and  fifth.  In  the  first  inversion,  this  is  what  is  known  as  an 
augmented-sixth  chord, — a  large  third  and  superposed  augmented 
fourth: 


Ex.  115 


•  m 

"C7 


The  chord  sometimes  appears  with  the  added-sixth,  a,  also 
the  small  seventh,  b. 

1 68.  With  the  small  scale-2nd,  the  augmented-sixth  is  heard 
in  the  second  inversion  of  the  Dominant-seventh  chord: 


>r  "     A          i 

3 

i 

fn\         *%              , 

-«*  • 

\±\)        &           m 

•-^  • 

r       * 

J                                                         \                r       & 

,r  *  ^     ^- 

/•w    yy       vr 

• 

EZ 

ipj'#    t           i 

*    if 

-^    * 

F    fl* 

r 

Ex.  116. 


169.  The  distinguishing  characteristic  of  this  chord  is  the 
strong  demand  of  the  augmented  interval  for  resolution  in  con- 
trary direction.     Sometimes  only  one  of  the  tones  resolves,  but 
the  demand  is  the  same.     Although  it  is  possible  to  build  the 
augmented-sixth  on  various  degrees  of   the   scale,  one   seldom 
finds  it  on  any  but  the  augmented-scale-2nd  and  4th. 

170.  The  augmented-sixth  mode  of  the  Subdominant   har- 
mony  includes   the   small    scale-6th    and    augmented  scale-4th. 
The  resolution  is  the  same  as  any  other  mode  of  the  harmony, 
excepting  the  root  which  naturally  moves  up  to  the  scale-5th. 
The  £4  makes  the  chord  brighter,  and  with  the  seventh  present, 
it  is  frequently  used  for  commanding,  heroic  effects.     One  of  the 
distinguishing  characteristics  of  this  interval  is  the  tendency  of 
the  two  tones  to  diverge,  the  flatter  tone  falling  below  the  sharper. 

135 


136 

171.  As  will  be  observed,  the  use  of  the  small  scale- 2nd 
creates  a  plaintive  and  sometimes  pathetic  element,  quite  unlike 
the  Subdominant.  Listen  for  the  same  resolution  that  the  diatonic 
harmonies  would  have: 


Ex.  117. 

1 

1        . 

—  i    i 

2 

T  —  1  1  —  i  1  n  —  I— 

J       J     J   I-J       H 

1  ~%L  *t  J  — 

~a  i" 

—  r~ 

i   §?t\ 

—  •      *, 

*\     Vm         ^         1      " 

1  T                          ^        ~~^\ 

-\     uj 

3      Tif           &           '       0 

tjJ       __u        •         2 

)__£_. 

+r 

§f     ~& 

m      /W^* 

L                           1* 

£•     ^         i^5 

V^f  *                           to 

• 

rr         i 

\      %^_v* 

r 

P  1- 

i                                          W 

1 

i 

r  t 

P          r^ 

1 
3 

l 

i             1            i 

^^     =F 

y  L  b   i     1 

i 

L                I                                   1 

i     i              i 

/^  t?  l?*"    —  jf- 

^d  —  r- 

-9-^0  —  B  -J  J— 

d      -^  r—  • 

V,'                 0        • 

-^~*— 

"^  ~*^r~"*~fe^~ 

-^  —  4-  -*—  bd  —  d— 

'l  J 

-9- 

T        T- 

J    ,    j      f  r 

r  i  ^-^  -* 

^    r    J    .    J 

/^\«      L     . 

In             A 

9      ej               L        " 

*    *    ^ 

lj   L  b  r 

-^  ?— 

-i^1  —75  -P  L  — 

S  -75  

^•^P  b    1  

~1  '  

F  ^  —  T~ 

—*--CZ— 

4 

0      h 

1                1 

i    n    i         n 

1            1            r 

1            I 

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J    a*       l*      «  J 

>    b 

!      «  •    n       1            • 

•         •         •          _1         /Cl 

tt\¥- 

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It)                      f              i 

SS  Z        1       *• 

3     3 

f3                    Jtfi'           P         « 

J     UJ       •       I       (SJ 

•     • 
•     • 

r        r  r 
"*•  «  -  f"  « 

I     b^     t    *    1" 

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i       . 

r                   S 

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r 

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^  —  q_jg_.'^'tttf     J 

•  I  —  aj-TS-1-  • 

—  •  —  ^  —  8- 

-<5>  —  '-9  —  ( 

SZ3CCS.3             tt 

v                99 

r- 

•y     -+-    (?         nil. 

.J.      J     ! 

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="     •    P     :¥lrlM 

ta  -r-f2--—  ^-- 

137 


¥ 


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2—^— 


r  "^r 


138 


10 


rf^-^MS-s-v-r^^      = 

&i         -j—  • 

^~                            -1-*  —  g    '/g  ft*    *-i  —  9    l  & 
f-    I1  *    f-    f-     »      "           •           f" 

9  •      •     c, 

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11 

n           i    i  r*-i           r^     rn 

i  n  j 

)                       |            I   ^     i                  |uj         J  J     a 

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1  0  & 

v    /^ 

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i 
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2               *tt                                  ^              nW       •        U*  IT                ft 

^ 

(WJ  —  |       P     t^,—  -    Hb--i£  W^-  ^H 

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1  L^  L|  1  1  LJ  1_ 
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I 

J-^-0  J      J         &        P5  !  ,  :  

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fa    fe    '  •  *     •  •    j     *  J  J     H- 

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i          'I^I 

CS?  &  f-  *  F     fj^  JS>  f2-J'l  1  

F    ||  i  —  ^j  — 

Lrl_]  1  —  |  LMip  f—  M  1  

12 

n    h                1     PI     1     i                          J     PI     1 

'WiP               VJJ                                  i*JJ 

I                  ] 

/aou  —  ^    _•_*_  -*—0—±  -J  J       •   *   *   , 

i  (^>^  *-  *    ?    ?    p.       *   -?^9    •?   -^—  |g  ^>— 

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13 


pTN    TT      J'     -v 

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14 


/  , 

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, 

^ 

3  —  - 

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T  — 

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H-*- 

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p         I 

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&  & 

^'b    ^ 

2 

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c?    r5    1 

^ 

r 

r  i 

rf 


J 


rr 


140 

172.  One  may  hear  the  augmented-sixth  mode  of  the  Super- 
tonic  triad,  the  root  being  the  augmented  scale-2nd. 


Ex. 

118. 
1 

1                     IL 

m 

2 

j 

3              Grieg. 

i-bu  JM 

/             *    TM 

i*    C 

•    • 

*.*-i            A          '^                 t               1 

> 

\     rr 

l 

|| 

- 

"i                                 m       &    - 

|l*  if  U  —  n  i           o 

c 

\     L  "F 

L     U 

-, 

L 

te        ^       *     -    - 

I?     W      1    ^    ^^ 

s 

•J     .    r 

-  -F        K- 

'1  ^ 

». 

i 

-•-  •*- 

r   r 

-rS     *-r 

1* 

^. 

1      ll| 
g--^^     J   ,, 

P 

L 

P~ 

I^J 

1  L 

•f^  P—  -P  -kr— 

Lt?  u 

^-  F  

-  -1  1  — 

-j  1  p  P2  — 

9-^  1  — 

1 

4 

i    !  ,i 

I 

. 

1 

FT 

5 

J     J       J        1 

1        1 

/ 

/            P        tTi 

.        * 

1         •        fi  J            H 

J 

n    IT 

5 

tffl      U.H        ^ 

•       J       e. 

1   i 

\     j 

J        J 

J        •      tU 

JAJ      L  • 

\  ^ 

f 

j*U         * 

1                  TT       »    ' 

jw     D»       ^ 

f- 

-P-     •      f     T 

/  /•—  . 

v 

tw                   F 

2         ^2 

r     i- 

S      L       ' 

• 

P         i 

With  the  seventh  (No.  2)  or  the  added-sixth  (scale-yth)  as  in 
Nos.  3  and  5,  the  effect  is  especially  pleasing.  Some  very 
interesting  excerpts  which  include  the  augmented-sixth  chord  on 
various  degrees  of  the  scale  may  be  found  in  the  author's  text, 
"Applied  Harmony." 

173.  When  Ra,  the  small  second  of  the  scale  occurs  as  root, 
with  the  pure  fifth  the  first  inversion  is  known  as  the  "Neapoli- 
tan-sixth." While  it  oftener  occurs  in  the  minor  mode,  it  is  not 
necessarily  so: 


Ex.  119. 

1 

T           1         1 

2 

1          i 

V        J     i  J 

—  — 

\ 

-td  F 

H  1  rH  —  i  

n^  —  ^   ^ 

—  •     fe 

—  Z3  

•^1  —  H  <• 

:*— 

V-J        ^       • 

za 

1         1     5^ 

J        J     1  2 

f  f    ^  - 

1 

"P"               1 

g-               t»«    -F-    •     ^,          n       ^ 

51 

]r 

I          U 

B*     1 

t>  —      —  1»  — 

,-> 

E 

^  r  r 

f3               IT      1 

141 

Brahms:  Requiem. 


IP 

,     g           C  L^ 

z 

-V  —  s^  —  ^~ 

—  &  —  N 

•a  —  | 

—  P  —  r  —  r~~ 

"f  —  —  T  — 

—  |  ^ 

—  ^,  

•. 

1         1      ! 

—  -!^-  —  -^  —  i  —  i 

A 

i            i 

•         tez. 

r  ' 

OL 

^ 

b^t 

i      to 
'            '      r 

_  i      x    i~ 

^  

9 

^2  —  :  —  . 

Schumann;  Op.  68. 


_  _  w — tp- — • — ± 


MELODIES  FOR  DICTATION. 


— n 

-| 


142 


Styrian  Song. 


y  ff   ^   i   1  1  .  K 

0.   +  •»*    m.  —  t- 

—  1^*?- 

^^ 

,-^_ 

i  PW- 

<fc= 

—*•  1  ' 

~~; 

1 

— 

1  )  — 

i  —  I  —  •<  —  ' 

V-l>             J  *         • 

^     9              m 

5_ 

r±» 

»•      • 

* 

*                        •                 ^.»      &    -+•         + 

* 

Hungarian  Air. 


f  X 


i 


» 

r/ 


CHAPTER  XIII. 
MODULATIONS  CONTINUED. 

174.  A  change  of  key  means  a  new  tone-center,  a  new  Tonic. 
The  change  of  key  is  affirmed  and  confirmed  by  decisive  chords  of 
the  new  key  which  fall  on  important  rhythmic  accents. 

a.  Confirmation  implies  a  cadence,  and  as  Vj  includes  the 
two  scale  degrees  which  have  a  fixed  resolution, — 2  and  4,  it  is 
the  essential  chord  of  the  new  key,  and  the  one  for  which  to 
listen,  with  its  resolution  on  Tonic.     7  to  8  fixes  key,  and  4.  to  j 
fixes  mode. 

b.  Vy  is  sometimes  preceded  by  I  falling  on  the  accent,  the 

latter  affirming  the  new  Tonic.     Observe  this  in  the  following 
excerpt  from  "Lohengrin",  by  Wagner: 

Ex.  121. 


xC  b  h         y* 

352          i  ]  *|  30*5* 

in      i    h  '       w*  ' 

-ofeaJ  y  u*.^*  i 

KB"  "  —  *^  — 

t?  g  •  —  lt^f~^~ 

fe*i  —  ~~*  —  *Ca^t? 

-^-^^  —  i 

f                         ^    i 

ft  1                               1 

(E£U  i  '  i?  r 

s  —  s—  ta 

u« 

y^r  *^-  r 

F: 


a=«s: 


5 


175.  As  the  minor  chords  of  a  key  are  more  or  less  obscure, 
it  naturally  follows  that  the  primary  chords, — I,  V  and  IV  are 
employed  for  the  confirmation  of  a  new  key.     In  the  minor  mode 
of  a  key,  the  Tonic  chord  is  used  more  persistently,  repetition 
making  the  change  more  positive. 

176.  One  of  the  simplest  transitions  is  effected  by  the  ad- 
dition of  a  small  seventh  to  a  major  triad,  converting  it  into  a 
seventh  chord  of  the  first  species  which  is  taken  as  a  Vj,  re- 
solving on  a  triad  whose  root  is  a  pure  fourth  above  that  of  the 
Vy,  affirming  and  confirming  a  new  key: 

143 


144 


c.  122. 
1 

j£  —  a£ 

—  ^  — 

—  te^  /^  f-i  

®  —  3- 

i 

*     1                             1                                       I/C' 

J   *J 

T^^r 

aJ               —  Gf  b*  ^r— 
I            i                                       etc. 

r3 

l/w                U^^                                         I/—  ^ 

I^y  • 

E 

1                                             r"^ 

v—  '          /^ 

4  

h^?                            I                                 u 

2 

n         1  —  1 

3 

i      1      'li      1   ' 

(J 

,      1    ^-^^     1 

A.          ^H            ^ 

n/*J  f        ^^ 

*A                9     rtW                         n^     u    , 

fl\         1         j  i  • 

!^f          i  ^     !• 

v*         Q           n  V*     V(         V*  W     |    ^ 

\s\)      g       •  bfl 

5S  h5 

/r»         b  « 

i*j  j  J 

»J  bJ  J  J 

*^-             ^^                t^?                 .^             L|_                  ^u^ 

etc.                                         1               etc. 

b« 

(<•)*              * 

h* 

I*      «                      •    K                            S 

i           BS 

CZ22          f  P*     «             t><5 

^     _<s>  L 

b<?-       1- 

ht  : 

0             1—  (S             1        ' 

i     u 

I 

1 

]A            A                                        2 

i       17<5J 

, 

VT"                              ^( 

h 

J 

^H 

b^i 

L 

c 

2 

1 

n^ 

h 

i?         ^ 

! 

M 

a)    fjj 

b  .- 

r 
/=•  -p-   ff  ^ 

et 

c. 

T&- 

•- 

et 

c. 

i 

1^7           l 

k 

L^y*            ^^            [^^        I    I7r^            L^-J 

R 

^^ 

p 

<5       P 

9 

/^     b* 

^L  /                                                              ^ 

^ 

-g     y» 

^S 

In  taking  these  from  dictation,  locate  the  chord-sevenths  and 
thirds. 

177.  Another  common  change  is  from  V7  to  Vy.  Observe 
the  root  relations: 


Ex.  123. 
1 


^ 


4=fc- 


±3t 


a*r  ^ 


V 


etc. 


etc. 


121: 


i 

For  home  work,  these  sequences  should  be  played,  following 
the  circle  of  keys  back  to  the  starting  point. 


145 

178.  In  the  following,  a  tone  of  the  Tonic  is  taken  as  a 
certain  degree  of  Vj.  Play  them,  completing  the  circle  as  in 
the  preceding  examples.  Taking  from  dictation,  locate  the  com- 
mon tone  and  state  its  relation  in  each  chord: 


Ex.  124. 
1 

A 

i 

! 

2 

! 

y 

-i 

^~ 

^r~ 

17^^ 

Hw      L, 

i  2J1 

s 

', 

1  1 

i     (i 

Z      h 

tv-S-vS 

i 

rm 

mft\ 

ffid 

p 

'_^^ 

*  i  U 

p 

OCDlu 

i 

< 

i    ' 

\V|/ 

,/• 

^^ 

' 

r 

•  b 

:    *" 

JJ 

h. 

b 

<*-* 

• 

^,  b 

1 
etc 

< 

F 

i 

F 

etc. 

U^iJ*         l 

i 

i 

-•"         L 

- 

—  i  — 

I    P    U 

-fey— 

< 

I— 

-*  — 

—  £  —  j. 

1 

—  L 

* 
i 

Lr-Ji 

L-l  1 

*—  '  

^     l      1      ,      ,      ,       J     J              !ii 

_j 

S             «—  —  S 

)f     ^     fli 

a 

u    ! 

p' 

Bfid 

rK               n 

3 

JM 

2          r 

jfia 

v-LJ       J       UJ 

-  l 

g 

3 

™                            •       f  •        ^.            | 
etc.                                                            etc. 

•           L  J 

Kj 

r 

EB^5 

t^L'  *                   r 

ZHI 

la 

| 

BE 

^  —  '         ^ 

K 

KJ 

| 

hP-                                                                   ' 

f—                    ^ 

&                *f 

,  1  1  

Ir^  —           —  ^^  — 

—  il  —  '  tt^ 

V  ^ 

r!^            2 

•       la! 

1                                      1 

^f5* 

etc. 

SQ 

r           tt^ 

**-^ 

[CJ«       « 

1«3  <fr^  tfl" 

179.  The  following,  which  were  suggested  by  Durand  in  his 
text  for  harmony,  includes  the  Subdomiuant  harmony: 

Ex.  126. 

1  2 


^fc^Eri 


^ 


etc. 


f 


. 

~ 


?1 


146 

i8o.  One  degree  of  Vj  taken  for  one  of  I  is  interesting  and 
effective.  Before  taking  them  from  dictation,  play  them,  ob- 
serving the  various  transitions: 


Ex.  126. 
1 

n         1 

i 

1 

2 

i 

3 

i 

1 

1           1 

i 

/    V        0 

Z&-& 

i    : 

-J- 

r^l 

h  -afl 

44 

.-4- 

•S 

\  €z  —  8  —  ' 

te-*t 

H  

3t 

•sH* 

,'i. 

*nr 

~~^  

g  ttj  —  ^  Jlitfj  —  ie  — 

)              A    ' 

n         • 
^ 

^ 

ff 

( 

1^ 

J 

<*    TT 

J 

H1 

T5*- 

eTZ  * 

f      /^^l*          * 

, 

P 

n^^      '  '   * 

f 

tt< 

• 

i              W       ^2 

l^L'*           1 

| 

Tlj 

-| 

^ 

5)     |                        r-> 

V      Tfc*"' 

u^ 

r 

Co     L 

*                            ' 

F 

| 

F    r      r 

4 
i-fl  —  rb 

r-  J- 

r-r- 

1 

5 

1        1 

~^T 

"^i 

1  — 

—  -A  —  > 

'  —  K  —  ' 

.  —  1  

/(•\        3 

—3 

&^ 

»  <i 

I/^? 

EJM 

ik.)     m 

& 

. 

1 

iS^ 

c. 

£s 

Hi                     Ltf^ 

%? 

£ 

•g- 

rt 

-  f 

J. 

jjc 

-& 

f 

b  • 

i 

faV     F 

P^ 

r 

,       i 

• 

T  r^ 

pj.     f 

1 

I 

' 

^•O 

ss  i 

i 

£3 

u                           •    **^ 

1 

$2 

6 

il 

1 

7 

r". 

8 

i 

i 
1  h'      1     h 

>r  —  E 

--H- 

p 

1 

4- 

d^- 

-\  

—  U- 

--L-U?*.     J     .Pf2  

Im  —  *~^ 

—  t- 

1  — 

p^j  — 

1 

*P*-T72 

5!  

f0     L 

£; 

~*ir 

--^ft  b*--t^- 

5JMZ         2 

B 

k 

p 

1 

i       C"' 

> 

-**!*• 

r         i       r 

1?«* 

J 

2-t 

ft 
»- 

<S2- 

Q 

1           1       f 

Ife5      *       ^       \){3 

^-, 

PC*    r 

1 

2    * 

w 

L^«  *     1 

rttj 

ry 

1            i         B2 

1^2 

Ll 

± 

s 

181.  A    tone   common    to   Vy    and    Vg    of   another   key  is 
interesting: 

Ex.  127. 

1  23 


j-fiJ-iLjiJ  JbJn^^ 

klft&J    Ilib^i       J  P%— FKI I  ^      uj 

I  ^     T*     •  ff^       u^—pp 


•=: 


147 


182.  Vg  to  Vg  is  not  difficult  to  recognize: 

Ex.  128. 

12  3 


^ 

. 

3 

*i   i 

. 

•5      M  r 

\ 

(r\     i 

^> 

f     i 

p*     m 

'^ 

*  ^ 

E2 

\-J     I 

•    i 

[72       fl 

hii-M 

r     ' 

\ 

f 

* 

y 

•  :. 

•  \Jm 

71  -ij 

L 

r 

& 

hj 

, 

fe)*     • 

f 

^^ 

i   " 

i    r 

L&J2A 

**  t? 

• 

^^ 

9-1 

i     i 

um\ 

n^ 

•*  LL<T   v      1 

•3 

E2 

52 

E 

,    u. 

•  ^ 

3         L,          I 

^Ei 


I 


-j- —T-^-^ 

9  *         -P — • ^g 


^ 


a 


r 


t 


fcas 


^ 


^ 


f 


183.   vii70    to    Vy    and    VQ    is    another    common    means   of 
modulating: 


Ex.  129. 
1                                                                   2 

nil1'                                   i—  —  ' 

V 

W 

i 

; 

n 

j/     J      J 

J     UJ 

'-> 

k_r 

u    : 

rh 

^ 

^j 

u.   ! 

•     yq 

P* 

ti2^  •- 

^E: 

sz    •      J 

f-^  ,  , 

ffizS 

•      Bi 

h 

C                •       <?             *    i^.      TI    r     *              ww     ^                             ,  ^ 

I          I   If        1    1                          1      J 

2Z^          ^^\~~ 

^^ 

k*' 

P^" 

• 

•^ 

]£^* 

22™ 

* 

1*3 

^5 

l^^s 

r 

1  ! 

. 


^^ 


-^ 


^ 


etc. 

ig= 


m 


i 

fe 


t 


148 


184.  Modulating  by  means  of  a  common  chord  is  one  of  the 
simplest,  therefore  much  used  devices.     One  diatonic  chord  may 
be  taken  for  another: 

One  chromatic  chord  may  be  taken  for  diatonic  of  another  key: 
One  diatonic  chord  may  be  taken  for  a  chromatic  of  another  key . 
One  chromatic  chord  may  be  taken  for  another  chromatic. 

185.  Ex.    130  includes  modulations  where  one  diatonic  chord 
is  taken  for  the  diatonic  of  another  key.     For  example,  in  No.  i, 
the  second  inversion  of  the  G  chord  (V)  affirms  a  new  Tonic  of 
G,  and  the  change  of  key  is  confirmed  by  the  following  Vy  of  the 
key  of  G. 

At  No.  2,  vi  of  C  is  taken  as  n  of  G,  the  key  being 
affirmed  and  confirmed  by  the  second  inversion  of  the  G  chord  on 
the  accent  and  Vy  following. 


Ex.  130. 
1 

n       1 

, 

• 

2 

r 

s 

V 

j 

^^      «^ 

I 

JL     ^ 

2 

sa    <^ 

« 

3 

Ifl5 

i     4 

i 

i 

#1 

^CL 

» 

^K       J 

J     3 

\ 

1 

^j    ^j 

^*^            1 

C/         • 

^    7 
J]J 

-25 

• 

^ 

»- 

ix 

1 

• 

p 

^i 

i4 

'  f 

rr 

i     i 

•s^ 

/W"\«         A 

2    f  J 

•^ 

^^ 

f*^     -™ 

X 

?         *»|J^-j 

] 

(£7—  k- 

-^ 

t 

^ 

"-f  — 

E 

—  te  —  '  — 

1 

?  —  fr^ 

&      22 

fy      • 

fa       -dr 

\  Z7- 

•^ 

Ei 

4 

—  k 

2: 

%$  —  ^—  ^- 

-+w—  75)  — 

-&— 

\-^—^~ 

Va  -  • 

-^  — 

E 

v—  K 

Li^  

-9— 

B     -^  -   T 

rn*"^        i  i  '            i 

-^  -^-  -^        ^     ^4^  -^«L  ^ 

2iSi 

2^ 

^2 

| 

I?/  * 

^2 

—  ., 

-^ 

^^•^      ^y 

P^ 

k? 

•^ 

i^> 

-^ 

^5 

^~i 

- 

s 

^rj 

^^ 

i      ' 

? 

I 


149 


fh  —  u  jL 

E^BE; 

5—  4fjH  

-^  — 

—  ^    g-d  — 

TSJ  *—  ^— 

C/          |        ''I           f                               ^    TT&1              ^ 

e   J^ 

(Sfc^* 

E 

^J 

J 

c£  —  te  —  r2  — 

3  

5  Ir9      P  

i»3  —  r2  — 

•1  p^  

CTT 


150 


11 


Teschner. 


3  1-  a)     ^ 

3 

H 

^         (^ 

—  ^ 

—4— 

» 

-£M^ 

W  H 

-^  —  j^— 

-^  —  &— 

^TT^ 

'  

—  p- 

~^  — 

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— 

J     ^L    ^  -^  -^        f    j        •    i      i   t   i      * 

p,       ~^- 

jEp 

J         \  ^    y 

fy 

^, 

(2 

42  1±_ 

^ 

"H^  — 

^ 

^>       ^< 

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l~£§  —  2  1  1  ^- 

^7- 

~to  — 

^T" 

h- 

H  — 

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/ 

(--*'           O               c' 

c|        3 

'     , 

^^^ 

1        -' 

ICT\        «T3 

^. 

C*       & 

-^-A 

2     -^ 

saz    K 

*    *      ^           tt^1 

-^      ^~ 

^j           ! 

^ 

B' 

^^i      ^Q 

•^1          i  |   ~    " 
-P-  ^   •&•     J 

±~  ;/vrr^f" 

•^         ^      [     ^^             |  fn>      ^2 

9  4*w     ^2 

S3       ^y^> 

^2 

,^      x^ 

(CT  ^3  

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-j  1  1  —  ^  1-|  ^  —  • 

-     ^     1 

i  fa   <*&  

H  1  

A    J 

— 

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-^ 

1  —  sH 

1  

—  j  

— 

r4 

—  i  — 

<a 

-* 

g 

-^ 

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i 

I 

& 

?x 

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r 
jr 

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^--^ 

i 

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f 

I 

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-^ 

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n^^ 

2 

E: 

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|^> 

1^5 

1         | 

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[ 

^-- 

1 

i   r 

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r 

12 


a  i   nJ   P^ 

•* — d ^    J  « — -H — r 


ri  i    n. 


r   r 


j-^ 


i 


^ 


nr^ 


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Aj  P.J  J- 

m^  m  ^ 


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151 

1 86.  Modulating  to  the  Subdominant  key  is  less  easy  than 
to  the  Dominant.  Listen  for  the  darker  effect  that  is  given  by 
the  flatter  tones.  At  No.  i  of  the  following  example,  vi  is  taken 
as  in  of  the  new  key: 


Ex.  181. 
1 

ntt      1      1 

I     . 

I  i 

J/  rit  &    <q 

In    I 

,                   1 

1 

j 

r<sJ      J 

J 

j 

•  j 

i 

f(\\    'i    J      J 

22Z  Z^ 

J-^g       J-*. 

^'       J 

-J  —  ^-*- 

jU| 

J    -   J 

r  r 

^  C 

j  i 

* 

(&%  &  L 

tf/5  -fi*  — 

•75  

3  

-^—  . 

^    '     1  1 

^-r^T-ih 

^J^ra  |   ^ 

/£  '4  1  —  J-^-d  —  ^  —  M  ~j  

J    J^l 

.  -^  r^r  -  °r4t't    ^  J  i 

1      1 
<z. 

<m\-^     f       P       f       ^        L       *       i'5' 

•                62 

* 

i 

IC^-flu  L      •                     p             Uf 

J       I 

L 

W^  S  P                                          P 

to 

451           1 

>r   "»  J     3     I  w        i 

J     i 

5  : 

»•  j  j      j 

1       1 

^\   +t  *      ••  d            | 

J     feazfe 

J 

•       •     •  J 

d 

_„» 

r      f  "  r 

*  r   LT  rr*^ 
t  i      Aj-J 

/^"\M*     '  »^                         ^r 

r-^" 

z    • 

E*  »     « 

iwrtr-  i                r 

* 

• 

1      P 

«  * 

187.  Example  132  includes  modulations  where  the  pivotal 
chord  is  chromatic  in  the  old  key,  but  diatonic  in  the  new.  In 
No.  i.  vn  of  C  is  taken  for  in  of  G.  In  No.  2,  the  C  chord  of 
the  fifth  bar  is  chromatic  in  Bb,  but  the  diatonic  Vj  in  the  key 
of  F  which  follows: 


152 

Ex.  132. 
1 


\ 

>           * 

2 

l 

—  -• 

If^        m 

•i*'^         * 

X",              « 

.^ 

&; 

23 

V  £ 

*      ^ 

3 

.^1 

^       • 

«.                                                                 •         ,2?  .  TT             CS        _J_        ^         •         -^                     <2/ 

*    4    -i-  -g-    -f-    ^.         ^     -        ! 

| 

d  • 

«  • 

<5>        • 

^> 

*y»          1 

i 

B 

\^--' 

t 

• 

ATT.  horn  Beethoven. 


X    K                  , 

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rn          ' 

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153 


!X    "    J     •  J 

•"*          *«^_JJW          *B*          • 

rK     fj      • 

•*                    ^                         ??      *        *             *•      f9                         ?ty                                   h 

S2      P^            -i 

i±l                       ^                 O                     r^                          t*_                       »      fj* 

-        1                                 1                   1              |                  1                     1 

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5           u,             i                                          r                     * 

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^                                     1                  .                                          U 

V    525 

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: 

nji      |             L__kJ          JiJ         J_J3_0           L_I£L^ 

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r     i     r  urn         *      -              r     r        r       r  r    P     *         P 

rip  ^  i  *s  r  r  '  '   '  u  •  i 

„                                             ~                  J.V.^.J--*-^^ 

r>              r                                   ••                     K 

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1                   1                                         '                                              — 

5        .                                                                                     Handel;  Messiah. 

n                                                           11.. 

h                                                               n 

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-—  :  M--^          5             |M  h^               3  ..     J 

V/  

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^y~     ~&        &       *A         f*       ~F~        f2      hj^D            \      ~^~        &     b/J 

y^A  *            ^f            ^^                f^         n^^                               Hg                                    H(^                rfj                                                 ^*^ 

ClxU-'      5  ^^        E2IZ  ZIJ5                   (^ 

<s                           \     \                          I                                         j               £-*^                       *^ 

y  , 

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>J         .       .         J       J        J                       zz—  -j  1  

p^i  — 

s  —  P  —  P_-J  —  a  —  <d      ? 

154 


**-± 


tdzi  =z£±fc=fci: 


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2=2 


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525 

, 

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1 88.  In  the  larger  forms,  one  is  more  likely  to  hear  the 
changes  of  key  occurring  with  the  phrases.  This  is  not  nec- 
essarily so,  but  oftener,  excepting  in  the  repetition  of  small 
figures  in  sequence.  In  four  bar  phrases,  the  material  peculiar 
to  the  new  key  seldom  appears  until  the  last  section  or  very  near 
to  it.  Observe  the  form  of  this  number: 


Ex.  133. 


Mendelssohn. 


^H=^— fR=t 

j^^3±S3 


*=! 


r 


1   pi  I 


^JJ, 


J 


J  A1  J 

t  -~^^~f 
i    u;  i 


155 


Cir?  «4*J  • 


=£=? 


:         D|     i 

S^i3 


« 


SB 


£ 


••g 0  0 

^ 


FT 


|(T\  "  I/    c" 

^ 

3       3 

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J    J 

2    ^ 

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»*•          £•> 

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f-   r 

1      ! 

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l  v  r  *  i  ^  i 

9 

I 

!                            Pj^ 

0 

<^—  X  |-|       L           ,^J 

r*I?              KI? 

i 

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-ffi  

•^  17  p*^ 

• 

i                   "*" 

1 

1 

i       i              r 

^       1 

189.  Another    familiar   change    is   to    a    small   third   above 
or  below: 


Ex.  134. 

1 


Chant. 


/     "ft     ^ 

'-4  —  i 

-n  <:^~ 

"^i*    1 

•^    ^ 

^ 

•^            y 

2 

^)    "  —  -d  —  ^  —  — 

-%>  -f~ 

-z*  !—  ^- 

—^  —  -^  

~if^r~i  —  0.  *  ~. 

-=j_fij  

%^ 

..   jjJ 

I         -&- 

1          '         1 
1 

C*r      .g) 

«-•      g 

[^    j         p 

i^l    <? 

es          ^zs 

"^     5 

^-i 

1  

f_ 

J—  h  

?  •  rr^ 



^^ 

^ 

gg  T  — 

/s>  • 

^   • 

.      .               ^    ^                                            ^ 
J        ^5,.^.            ^                       J2.  ^.. 

r 

^*5  f*i^^ 

| 

t-^"    • 

_ 

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JS  • 

f^   • 

^     • 

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156 


Kirby:  Hymn. 


/    > 

L  b 

i                                          a 

V  it 

sz     ^ 

J        1 

P            J         J         U                    un 

1  s 

z          ^ 

I 

•                            $&          ^ 

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&) 

9 

•     -r 

f   r     •    ^             ^ 

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V     K       *" 

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L            P                       r 

r  [p 

P 

P                                   to 

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i 

1                        \             \                    r 

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| 

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1                    1                   '           1           1 

/  I?   J 

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I 

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if 

fi*~ 

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158 


igo.  Modulation  to  a  key  a  large  third  above  or  below  is 
very  interesting.  Some  of  the  following  examples  began  with 
Vj,  presupposing  a  previous  phrase  in  that  key. 


Ex.  136. 
1 


o 

1   J               "-J 

S3 

^— 

, 

3  ? 

- 

1253 

, 

1 

1  —  »  J 

3  b« 

—  -j 

^5  — 
i 

(if)*        * 

•*  -^                             01 

• 



^>          • 

u 

—  •-. 

17    5)                 n 

7^ 

c 

2 

Ka 

3  4 

L  ^J   ,    I  I          Pi 

-.a — ^^W-.-ljuJ^VJ 


V-'-fe 


p--r=rn° 


s 


75T 


J 


Ei 


\  |tj.bJ-JJ:5 
•  I  *b  3  iJ^-g 


j-^7g 


=t 


^g' 


al     ^^ 


12*. 


S 


g-  yl  ,  U 


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191.  The   following   includes  examples  of  a  pivotal  chord 
that  is  chromatic  in  both  keys: 
Ex.  136. 

1*=fafc 


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Wagner. 


A.  n 

I        I        i        I 

L  :     i      J 

C,*" 

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II? 

M  L  I      r 

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tttJCE 

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Gounod:  Faust.         4 


Wagner. 


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VII  A6 
F:  £11  A6 


164 


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•7"?F  ^     T    If     J  J b    J 


c:  IV  A6 


fr*i.  n  fl 


-* — ^r-^nr 
5   V^ 

Schumann:  Op.  21. 


iti 


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r  Ir  * 


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165 

Mendelssohn:  Op.  41. 


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192.  Carefully   analyze  the  changes  to  remote  keys  before 
taking  them  from  dictation. 

Ex.  137. 
1 


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s*~~ 

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x— 

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168 


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169 
Chopin:  Op.  16. 


-*-= 


i 


4= 


:£ 


=j: 


^=1 


JSU. 


m 


^3- 


x      x 


F 


r 


-s — c 


^pf1 


etc. 


193.  Interesting  changes  of  key  are  easily  made  by  means 
of  enharmonic  changes.  This  is  done  to  establish  different  chord 
relations  for  one  or  more  tones.  For  example,  C  sharp  of  the 
third  chord  in  No.  I  is  expressed  as  D  flat  in  the  fourth  chord, 
becoming  a  Dominant  seventh  of  the  new  key: 


Ex  138. 

1 


Beethoven. 


r2 — ;fir 


>. 


— r-^ 

6 


^ 


— j     .n=pi]_p|idi=ii 
S^ffiE^ 


!* 


— — ntt-X5 ^     «^-.«?) ^ 1*^^^—  n 

I 


170 


Dvorak:  Requiem. 


y  ^n  — 

J. 

-\  

—  -d  H— 

md  —  4  ^ 

• 

>-2— 

*i  R* 

•  - 

—  & 

h1  

T  n^ 

? 

3:         ?• 

j  j 

i 
1 

• 

-& 

fr)*  b  k~l  i 

• 

bii 

?  4  p 

• 

t^  M 

— 

(2  • 

H?3-i  

1 

Franck. 


^=?j-H^]y 


X 

x 


x 


*1-  x 


Ex.  139. 
1 


Beethoven:  Symphony. 


S 


Hungarian  Air. 


*  4L. 


Sarasate. 


!    »  •  y  |     ,  v — . 


r  t".r*-f 

I  ^      t-B i»- 


^Efl 


171 

Russian  Folksong. 


HH— , 


A"  *   J   J 


Schumann. 


•  i  i x  -q 
»'  J  ^  »«n 


fe^ 


3. 


*-     •    '    0     0 


•-«.  * 


-<&• 

Old  Welsh  Song. 


-f 
*= 


$*  J    /  J^'- 

»/ 


172 


Japanese  National  Hymn. 


Tvrolean  Air. 


^ 


-*-s- 


s 


j.iijji  ,,in  n'f^fen 


10 


173 

Polish  Song. 


2Eq  SB- 

m 

*h# 

R-^M 

==*=& 

aE 

A— 

-              2         ! 

—  J  —  1  —  ' 

h          1  """ 

IB  —  •  —  '   • 

f—  «  klz  —  •  — 

1 

S: 


Hungarian  Air. 


12 


Swiss  Song. 


3 


•     9 


. 


174 


13 


-?uN-f? 


±=t 


s 


Swiss  Song. 


^r^? 


As  there  is  such  an  abundance  of  good  material  that  can  be 
used  from  this  grade  on,  it  would  be  unnecessary  to  include 
more  in  this  volume. 

The  author  recommends  Schumann  Op.  68  and  15:  The 
Bach  Album  of  selections  from  the  Suites:  The  small  forms  of 
Grieg  and  other  modern  composers.  Following  these,  no  really 
good  composition  will  be  amiss. 

If  one  makes  an  analytic  and  synthetic  study  before  taking 
from  dictation,  much  will  be  gained,  especially  if  the  harmonies 
are  decided  by  sound,  and  not  the  notation  only. 

For  the  average  person,  proficiency  in  this  work  requires 
years  of  persistent  effort.  Only  the  observing  eyes  and  ears  are 
rewarded  with  success. 


175 


INDEX  TO  COMPOSERS. 


(The  numbers  refer  to  the  page.) 


ALDRICH 112 

BACH 80,  84,  93 

BACON. 112 

BELLINI 1 20,  123 

BEETHOVEN 48,52,69,70,  134,  153,  164,  169,  170 

BIRD  NOTES 9,  10,  22 

BOSNIAN  AIR 141 

BRAHMS 141 

CHANT 78,  155 

CHOPIN 70,  80,  81,  130-133 

COUPERIN 98 

DEBERIOT 71,  119 

DONIZETTI 118,  119,  122 

DUPONT in 

DVORAK 1 70 

DYKES 149 

FINNISH  SONGS 94,  95 

FLOTOW   99,  too,  1 1 8 

FOLK  SONGS 7 1 ,  94,  98,  99,  125 

FRANCK  170 

GOUNOD 118,  120,  163 

GREEK  AIR 142 

GRIEG 140 

HANDEL 78,  109,  153 

HAUBER 161 

HAYDN 96 


176 

HUNGARIAN  AIRS 142,  170,  173 

JONES 159,  162 

KIRBY 156 

LALO 119,  172 

MENDELSSOHN 65,68,71,90,  120,  122,  130,  154,  165 

MOZART 83,  105,  no,  121 

NORWEGIAN  AIR 95 

NOVELLO 113 

OLD  ENGLISH  SONGS 50,  70 

OLD  AUSTRIAN  AIR 1 24 

OUSELEY 113 

POLISH  AIRS 71,  98,  173,  174 

PROPERT 112 

REINECKE 93,  94,  112 

RUSSIAN  DANCE 50 

RUSSIAN  FOLK  SONGS 78,  171 

SARASATE 170 

SCARLATTI 121,  122,  124 

SCHUMANN 91-93,  107,  127,  141,  164,  171 

SERBIAN  FOLK  SONGS 71,  141 

STYRIAN  AIRS 125,  142 

Swiss  AIRS 173,  174 

TESCHNER 50 

TRADITIONAL 124 

TYROLESE  AIRS 125,  172 

WAGNER 127,  143,  149,  163 

WEBER 132 

WELSH  AIRS 52,  171 

WESLEY 129 


177 


GENERAL  INDEX. 


(The  numbers  refer  to  the  page.) 


Accent:   1-7,  n,  12,  16 
Added-sixth:  89,  135,  140,  143 
Anacrusis:   16 
Anticipation:  73 
Arabic  numerals:  25 

Augmented  intervals:  37,  43,  60.     Scale-ist,  133;  scale-2nd,  135 
140;    scale-4th,  126,  127,  132,  135;    scale-5th,  38;  scale-6th, 

133 
Augmented-sixth  chord:   135,  140 

Authentic  cadence:  25,  30 

Bird  Notes:  9,  10,  22 

Bytones:  72,  73,  74,  126,  127 

Cadence:   n,  12,  25,  30,   31,    127.     Authentic,   25,   30.     Plagal, 

61.     Rising,  12,  31.     Perfect,  30.     Imperfect,  30. 
Chord  relations:  7,  24,  29 
Chord  dictation:  23,  25,  38 
Common  tone:  38 

Chromatic  tones:   126,  127,  148,  151,  161 
Counting:  3,  10 

Diminished  intervals:  37,  43,  50,  60 
Diminished-7th  chord:  60,  85,  147 
Do  (syllable  name):  6,  11,  24 
Dominant,  scale-5th:  6,  7,  u,  13,  15,  16,  23-25,  30,  31,  36,  44, 

51,  in,  126,  127 


178 

Dominant  harmony:  13,  15,  16,  23-25,  30 

Dominant- jth  chord:  41,  42,  60,  61,  85,  126,  135,  143-145 

Dominant-gth  chord:  54,  85,  146,  147 

Enharmonic  change:   169 

Fa,  scale-4th:  41,  42,  50,  61 

Form:   13,  154 

Harmonic  dictation  including  I  and  V  only:  25,  29-32,  42-47, 

54,  55- 

Including  IV:    61-65,    74~86.      Including    bytones:    74-84 

and   on.     Including  ii:  88-96.     vii:  50,  51,  61.     Including 

vi:   103-110.     Including  iii:  111-117,  etc. 

Including    chromatic    tones:    126-134.      Augmented-sixth:- 

r36,  139,  141-     Modulations:   148  to  close. 

Harmonic  generator:  4,  5,  15 

Harmonic  regulation:   13 

Intervals:  Octave,  4-6.     Pure  5th,  4-6,  8,  20,  58,  etc. 

Pure  4th,  5,  6,  8,  20,  35-37,  41,  58.  Large  3rd,  7,  8,  etc. 
Small  3rd,  8,  20,  etc.  Large  2nd,  6,  20,  etc.  Small  2nd 
20,  24,  41,  etc.  Large  6th,  8,  44,  etc.  Small  6th,  8,  36, 
etc.  Large  7th,  24,  etc.  Diminished  4th,  37,  etc.  Dimin- 
ished 5th,  60.  Augmented  5th,  37. 

Inversions:  28,  29.     Second,  30,  127,  etc. 

Key:  6,  61 

La,  scale-6th:  54.     Le,  small  scale-6th:  55,  57 

Me,  small  scale-3rd:  20,  23 

Mediant  harmony:   in  and  on. 

Melodic  dictation  including  i,  3,  5  of  scale  only:  14,  15.  In- 
cluding 2:  16-19.  Including  small  3rd:  20-22.  Including 
7:  26-28,  32-37.  Including  4:  41-50,  52,  53.  Including 
both  large  and  small  scale-6th:  56-60,  65-71.  Including 
chromatic  tones  and  modulations:  141,  142,  170,  171. 

Melodic  or  key  quality:   u 

Melodies  to  complete:  100 

Minor  scale:  3,  7,  n,  16,  20,  23,  24,  55,  56,  62 

Modulations:   127,  143,  148,  151  to  close. 

Nature  of  material:  61 


179 

Neapolitan-6th:  135,  140 

Overtones:  4-7,  15,  28,  41,  54,  85 

Phrase:  12,  16,  32 

Primary  harmonies:  61,  112,  143 

Progression  tones:   11-13 

Proportion:  12 

Ra,  small- 2nd  of  key:   135,  136,  140 

Re,  large  2nd:  u,  15,  16,  24 

Relative  minor:  23 

Repose  tones:  n 

Resolution:  n 

Rhythm:   1-6,  9,  12-15,  19 

Rhythmic  dictation:    1-3,  13,  18,  19,  51 

Rhythmic  motions:  2 

Roman  numerals:  25,  29 

• 

Root:  5,   15 

Scale  numbers:  42 

Section:   n,  12,  32 

Sequences:  144,  145 

Sight-singing:   13 

Signs  for  triads:  37 

Sol,  scale-5th:  6,  7,  n,  13 

Species  of  seventh-chords:  84,  85,  143 

Substitutional  harmonies:   103,  112,  134 

Suspensions:  72 

Ti,  scale-7th:  24.     Te,  small  scale-7th:  55 

Tetrachords:  54,  57,  61 

Tonal  relations:  4,  n,  39,  127 

Tone-thinking:   13,  38,  41 

Tonic:  6,  7,  11-13,  16,  23,  57 

Tonic  harmony:   16,  23,  24  and  on. 

Transpose:  29,  41 

Triads:  8,  23,  37  and  on.      Diminished:  38,  51.     Augmented:  38 

Two-part  dictation:  39,  87,  101,  102 

Writing:  9,  51 


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